{"pad:accidental-tech":{"atext":{"text":"*đŸ”¶ đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\"—and its Greek predecessor \"technē\"—into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses—that is, the executed prompt—and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967)—which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most speculative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts—wherever they lost their traditional functions of mimesis and representation—operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nongkrong make accidentality their program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions—from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator*—were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions—such as those that participated in documenta fifteen in 2022—whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation—and if this \"self\" is increasingly collectivized and extended to entire communities—how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents and open systems\n\nIt would be oversimplifying to generally and sweepingly attribute accidental technologies to art. The opposite is also true. Science fiction literature, for example, has historically served as a direct inspiration of research and development, especially in the fields of digital technology and artificial intelligence. (Computer hackers and engineers are known to be among the most ardent readers and viewers of science fiction literature, movies, and television). Science fiction has often functioned as prosaic inspiration for a technology, as an elaborate, systematically crafted blueprint. \n\nThere is also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music, where composition includes the development of matching hardware and software instruments, and in the development of community media tools, as in the video and democratic television activism of the 1970s artists' collective Raindance Corporation, and today in the development of Open Source community tools in artists' collectives such as Lifepatch, varia, and Hackers & Designers. \n\nBut what if one does not look optimistically at accidents in the technological _poiesis_ of artists, but at accidents in the sense of prosaic or even catastrophic failure? The Otto Muehl commune, which began as a socio-artistic experiment and ended with criminal convictions for systematic sexual abuse, is perhaps the most striking example of such a catastrophe in recent art practice. But it remains debatable whether that catastrophe was really due to the commune's social technology (which included a computer program that generated a randomly generated daily \"fuck list\" for communards to prevent them from forging traditional family relationships). \n\nMail art, which had emerged from the same 1960s countercultural-performative art scene as the Muehl commune, experienced numerous structural problems at the level of its network infrastructure and protocols. Its prototyping of Internet social media happened partly by accident, since its original goal was not an alternative mass communication system, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When it became \"The Eternal Network\" and gradually dissociated itself from art, it not only prototyped Internet social media, but also their operational issues.^[In some cases, Mail Art communities were direct precursors to online social media, for example in electronic dial-up computer systems (\"BBSs\") that existed in the 1980s to 1990s and via Mail Art discussion boards on proto-Internet dial-up social media such as the U.S. American computer discussion boards _EchoNYC_ (New York) and _The Well_ (San Francisco). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing company, was historicized in Howard Rheingold's 1993 best-selling book _The Virtual Community_. This book likely inspired the designs of later, larger-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art as early as in the 1970s. Many of its participants later testified that they had given up because of vast amounts of \"junk mail,\" most of which came from people who used Mail Art as a low-threshold system to become part of publications and exhibitions. The \"Eternal Network\" was effectively employed as a vehicle for self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini, who used Mail Art to disseminate his individual brand in the form of ubiquitous stickers promoting his artist career. \n \nSince Mail Artists had made a commitment not to ever reject any submissions, there was no structural solution to this problem. In addition, their open participation and free speech ethos sometimes led to questionable submissions being accepted and disseminated, such as a series of anti-Semitic caricatures in a 1975 issue of the San Francisco mail art zine _VILE_ that bear a striking visual resemblance to today's anti-Semitic Internet meme of the \"Happy Merchant.\" Also part of the \"Eternal Network\" were transgressive projects such as British mail artist Pauline Smith's \"Adolf Hitler Fan Club,\" which was perceived as quixotic in its time and by fellow artists, but whose motives seem dubious when one reads Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, \"Corpse Club\", in: Banana, Anna. _About VILE_. Vancouver: Banana Productions, 1983, p. 59-60.] \n\nIn retrospect, spamming, trolling, and political subcultures such as the \"Alternative Right\" (\"Alt-Right\") were prefigured in \"The Eternal Network.\" In his 2001 book _Networked Art_, Craig A. Saper characterized Mail Art practice as \"intimate bureaucracies\" through which artists effectively became administrative network operators (or, in today's terminology: sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001.] Network administration is about managing accidents and disasters in real time, especially when, as with Mail Art or social media on the Internet, the network is both the information carrier and, at least to some degree, the information itself. Pauline Smith's apartment was raided by police in 1976, the same year that her London colleague and fellow mail artist Genesis P-Orridge was on trial for having put pornographic images on postcards. In both cases, it is difficult to say whether the pre-digital social networks of the \"Eternal Network\" _caused_ accidents or _were_ the accident itself. \n\nThis question became even harder to answer when network bureaucracies became algorithmic regimes and when Eternal Network operators working like Mieko Shiomi and others—designing and dispatching prompts, aggregating feedback—were replaced by bots. In March 2016, Microsoft's research division introduced _Tay_, an AI chatbot on Twitter. Unlike most other commercial software based on machine learning, this bot had not completed its training before it went to market, but used all chat interactions as continuous input to its machine learning. The launch coincided with Donald Trump's first successful presidential campaign and the militant support he received from the extreme right in meme and troll forums on the Internet. After word got out about Tay on the main \"Alt Right\" forum at the time (the \"/pol\" or \"politically incorrect\" board on the website 4chan), user interactions retrained the chatbot to be aggressively racist, fascist and Holocaust-denying within hours. 16 hours after its premiere, Microsoft took Tay offline. \n\nTay does not seem to fit into a linear cause-and-effect logic according to which technologies either cause their own accidents and disasters (such as the invention of the automobile, which led to about 1.3 million deaths per year in car accidents and another estimated 385,000 premature deaths from air pollution^[Anenberg, Susan, et al. \"A global snapshot of the air pollution-related health impacts of transportation sector emissions in 2010 and 2015.\" _International Council on Clean Transportation_, Washington, DC, USA (2019).]), or conversely, that accidents and disasters would give birth to new technologies, such as the modern information and computer technology that emerged from British and American self-defense against Nazi Germany, or the high-tech innovations of Dutch \"Delta Works\" water management after the country's 1953 floods. As radically open feedback systems that process their own networks in largely unprotected ways, both Tay and Mail Art could be said to be simultaneously causes and effects of accidents. Their constructions are recipes for disaster, to the point where it becomes impossible to distinguish what exactly is technology and what is accident in them. In the case of Mail Art—but not of Microsoft—this recipe and its possible consequences were even consciously chosen by the artists, as a radical experiment that ultimately goes back to Fluxus and—beyond that—to the indeterministic composition of John Cage, only that it no longer operated in constrained aesthetic spaces but in open environments. \n\nOther open works (to use a term by (Eco)), such as Shiomi's Spatial Poem or Tristan Tzara's 1920 instruction to create a Dadaist poem by cutting out and randomly combining the words of any newspaper article, could be similarly escalated to create similarly catastrophic dynamics in real life. A series of Fluxus pieces titled \"Danger Music\"—like Takehisa Kosugi's 1964 instruction to \"[s]coop out one of your eyes 5 years from now and do the same with the other eye 5 years later—embarked on this path. The example of Tay and 4chan suggests that contemporary Danger Music now plays more in digital technology than in the arts, with 4chan itself perhaps the best example of a catastrophic cybernetic heir to Dada, of technology as catastrophe and catastrophe as technology.\n\n\n*### lens 5: aestheticized technology\n\nEven the miler example of TikTok illustrates how, since the Internet boom of the 1990s, technology has become aesthetic to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) may make a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often—if not in most cases—accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau—note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute—which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work—which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of—call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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notes\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise?]\n*list of 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ACCIDENTAL TECHNOLOGY notes\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal 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ACCIDENTAL TECHNOLOGY notes\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n\n\nProposition for 'The Eternal Network' // \nWould it be possible to consider an 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ACCIDENTAL TECHNOLOGY notes\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n\n\nProposition for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n\nConsider, has 'subculture' as what it was understood by mail art/zine cudisappeared today? 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ACCIDENTAL TECHNOLOGY notes\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buff —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n","attribs":"*9*0*1*3+1*7*8+x*0|5+1n*0*1*5*3+1*0+3+1s*0|1+3+4*0+h+11*0|1+1b*0*1*e*3+1*0+18+4*0|1+1*0*1*e*3+1+3*0|1+10*0*1*e*3+1*0|1+1c*0*1*e*3+1*0|4+1e*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+3q*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0+3v|1+1"}}},"pad:accidental-tech:revs:801":{"changeset":"Z:19h>4|n=14z=2o*0+4$er t","meta":{"author":"a.JEqAYyDjjr7nBbrP","timestamp":1655117360462}},"pad:accidental-tech:revs:802":{"changeset":"Z:19l>3|n=14z=2s*0+3$he 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question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd","meta":{"author":"a.JEqAYyDjjr7nBbrP","timestamp":1655117890479}},"pad:accidental-tech:revs:833":{"changeset":"Z:5rn>0|v=1aj*6=4|1=1*6=qb|2=2*6=1b|1=1*6=190|2=2*6=c9|2=2*6=13|2=2*6=k|2=2*6=lt|1=1*6=eu|1=1*6=c7|1=1*6=7a|1=1*6=e1|1=1*6=2z|1=1*6=6|1=1*6=o$","meta":{"author":"a.JEqAYyDjjr7nBbrP","timestamp":1655117895894}},"pad:accidental-tech:revs:834":{"changeset":"Z:5rn>3=1-x*0*7*m+10$đŸ”· notes ACCIDENTAL TECHNOLOGY notes","meta":{"author":"a.JEqAYyDjjr7nBbrP","timestamp":1655117956019}},"pad:accidental-tech:revs:835":{"changeset":"Z:5rq>1=11*0*7*m+1$ 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n\nI. Intro\nII. Networks, Artistic Movements, Mail Art (\nIII. \n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*3+1*7*m+19*0|5+1n*0*1*5*3+1*0+3+1s*0|1+3+4*0+h+11*0|1+1b*0*1*e*3+1*0+18+4*0|1+1*0*1*e*3+1+3*0|1+10*0*1*e*3+1*0|1+1c*0*1*e*3+1*0|9+37*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+3q*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|4+4f+4*0|1+1+qb*0|2+2*7+1b*0|1+1+190*0|2+2+c9*0|2+2+13*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+3e*i+1d+7g*0|1+1+7a*0|1+1+e1*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:901":{"changeset":"Z:5t9>1|d=d1=19*0+1$d","meta":{"author":"a.JEqAYyDjjr7nBbrP","timestamp":1655118166164}},"pad:accidental-tech:revs:902":{"changeset":"Z:5ta>0|d=d1=19-1*0+1$c","meta":{"author":"a.JEqAYyDjjr7nBbrP","timestamp":1655118166651}},"pad:accidental-tech:revs:903":{"changeset":"Z:5ta>5|d=d1=1a*0+5$entra","meta":{"author":"a.JEqAYyDjjr7nBbrP","timestamp":1655118167156}},"pad:accidental-tech:revs:904":{"changeset":"Z:5tf>3|d=d1=1f*0+3$lis","meta":{"author":"a.JEqAYyDjjr7nBbrP","timestamp":1655118167657}},"pad:accidental-tech:revs:905":{"changeset":"Z:5ti>6|d=d1=1i*0+6$ation 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n\nI. Intro\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\nIII. Self-experimentation, raising meta-narratives (conscientiousness of 'media')\n\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n\nI. Intro\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\nIII. Self-experimentation, raising meta-narratives (conscientiousness of 'media')\n\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the \n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n\nI. Intro\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\nIII. Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\nIV. LCoincidence and confluence as form semi-autonomy and post-anarchism\nV. Conclusions?\n\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*3+1*7*m+19*0|5+1n*0*1*5*3+1*0+3+1s*0|1+3+4*0+h+11*0|1+1b*0*1*e*3+1*0+18+4*0|1+1*0*1*e*3+1+3*0|1+10*0*1*e*3+1*0|1+1c*0*1*e*3+1*0|c+9n*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+g4*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2+13*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+3e*i+1d+7g*0|1+1+7a*0|1+1+e1*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:1201":{"changeset":"Z:66y>3|f=if=5*0+3$IGH","meta":{"author":"a.JEqAYyDjjr7nBbrP","timestamp":1655121765547}},"pad:accidental-tech:revs:1202":{"changeset":"Z:671>4|f=if=8*0+4$T 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition,\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\nV. Conclusions?\n\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological invention\n\n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\nV. Conclusions?\n\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*3+1*7*m+19*0|5+1n*0*1*5*3+1*0+3+1s*0|1+3+4*0+h+11*0+1a*n|1+2*n*1*d*3+1*n+6e*0|1+1*0*1*e*3+1*0+18+4*0|1+1*0*1*e*3+1+3*0|1+10*0*1*e*3+1*0|1+1c*0*1*e*3+1*0+z*n|1+1*n*1*e*3+1*0|2+2*0+a*n|3+1k*0|a+b1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+g4*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2+13*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+3e*i+1d+7g*0|1+1+7a*0|1+1+e1*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:1401":{"changeset":"Z:6hq>2|g=l2*n+2$- 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological invention\n- tile mosaics and abstract painting as invention of raster/pixel graphics\n- invention of wireless frequency hopping technology through actress Hedy Lamarr and composer George Antheil in 1941 (as support of \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\nV. Conclusions?\n\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological invention\n- tile mosaics and abstract painting as invention of raster/pixel graphics\n- invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n- preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\nV. Conclusions?\n\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological invention\n- tile mosaics and abstract painting as invention of raster/pixel graphics\n- invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n- invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' \n- preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n- \n\n...are reciprocal \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\nV. Conclusions?\n\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*3+1*7*m+19*0|5+1n*0*1*5*3+1*0+3+1s*0|1+3+4*0+h+11*0+1a*n|1+2*n*1*d*3+1*n+7i*0|1+1*0*1*e*3+1*0+18+4*0|1+1*0*1*e*3+1+3*0|1+10*0*1*e*3+1*0|1+1c*0*1*e*3+1*0+z*n|1+1*n*1*e*3+1*0|2+2*0+a*n|9+is*0|a+b1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+g4*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2+13*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+3e*i+1d+7g*0|1+1+7a*0|1+1+e1*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:1701":{"changeset":"Z:702>4|i=tb=3k*n+4$ 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological invention\n- tile mosaics and abstract painting as invention of raster/pixel graphics\n- invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n- invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n- preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n- origins of Airbnb as a social design project by design students\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory\n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\nV. Conclusions?\n\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*3+1*7*m+19*0|5+1n*0*1*5*3+1*0+3+1s*0|1+3+4*0+h+11*0+1a*n|1+2*n*1*d*3+1*n+7i*0|1+1*0*1*e*3+1*0+18+4*0|1+1*0*1*e*3+1+3*0|1+10*0*1*e*3+1*0|1+1c*0*1*e*3+1*0+z*n|1+1*n*1*e*3+1*0|2+2*0+a*n|9+oa*0|a+b1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+g4*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2+13*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+3e*i+1d+7g*0|1+1+7a*0|1+1+e1*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:1801":{"changeset":"Z:75k>1|m=14t=43*n+1$,","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660491251862}},"pad:accidental-tech:revs:1802":{"changeset":"Z:75l>3|m=14t=44*n+3$ bu","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660491252364}},"pad:accidental-tech:revs:1803":{"changeset":"Z:75o>2|m=14t=47*n+2$t 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological invention\n- tile mosaics and abstract painting as invention of raster/pixel graphics\n- invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n- invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n- preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n- origins of Airbnb as a social design project by design students\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n - x-rays by Wilhelm Röntgen\n - pennicilin by Alexander Fleming\n - vulcanized rubber by Charles Goodyear\n - microwaves as heating technology by Percy Spencer\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\nV. Conclusions?\n\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological invention\n- tile mosaics and abstract painting as invention of raster/pixel graphics\n- invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n- invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n- preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n- origins of Airbnb as a social design project by design students\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n - x-rays by Wilhelm Röntgen\n - pennicilin by Alexander Fleming\n - vulcanized rubber by Charles Goodyear\n - microwaves as heating technology by Percy Spencer\n - pacemaker by Wilson Greatbatch\n - Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n - safety pin by Walter Hunt\n - Arpanet/Internet (originally meant to more efficiently distribute \n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\nV. Conclusions?\n\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n- tile mosaics and abstract painting as invention of raster/pixel graphics\n- invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n- invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n- preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n- origins of Airbnb as a social design project by design students\n- social networking in the \"New York Correspondance School\" \n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n - x-rays by Wilhelm Röntgen\n - pennicilin by Alexander Fleming\n - vulcanized rubber by Charles Goodyear\n - microwaves as heating technology by Percy Spencer\n - pacemaker by Wilson Greatbatch\n - Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n - safety pin by Walter Hunt\n - Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\nV. Conclusions?\n\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*3+1*7*m+19*0|5+1n*0*1*5*3+1*0+3+1s*0|1+3+4*0+h+11*0+1a*n|1+2*n*1*d*3+1*n+7i*0|1+1*0*1*e*3+1*0+18+4*0|1+1*0*1*e*3+1+3*0|1+10*0*1*e*3+1*0|1+1c*0*1*e*3+1*0+z*n|1+1*n*1*e*3+1*0|2+2*0+a*n|j+16q*0|a+b1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+g4*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2+13*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+3e*i+1d+7g*0|1+1+7a*0|1+1+e1*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:2101":{"changeset":"Z:7o0>1|l=160=1o*n+1$f","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660491822294}},"pad:accidental-tech:revs:2102":{"changeset":"Z:7o1>5|l=160=1p*n+5$ounde","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660491822795}},"pad:accidental-tech:revs:2103":{"changeset":"Z:7o6>3|l=160=1u*n+3$d 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n- tile mosaics and abstract painting as invention of raster/pixel graphics\n- invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n- invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n- preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n- origins of Airbnb as a social design project by design students\n- social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n - x-rays by Wilhelm Röntgen\n - pennicilin by Alexander Fleming\n - vulcanized rubber by Charles Goodyear\n - microwaves as heating technology by Percy Spencer\n - pacemaker by Wilson Greatbatch\n - Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n - safety pin by Walter Hunt\n - Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\nV. Conclusions?\nboth historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology disco\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n- tile mosaics and abstract painting as invention of raster/pixel graphics\n- invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n- invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n- preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n- origins of Airbnb as a social design project by design students\n- social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n - x-rays by Wilhelm Röntgen\n - pennicilin by Alexander Fleming\n - vulcanized rubber by Charles Goodyear\n - microwaves as heating technology by Percy Spencer\n - pacemaker by Wilson Greatbatch\n - Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n - safety pin by Walter Hunt\n - Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es\n\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n- tile mosaics and abstract painting as invention of raster/pixel graphics\n- invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n- invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n- preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n- origins of Airbnb as a social design project by design students\n- social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n - x-rays by Wilhelm Röntgen\n - pennicilin by Alexander Fleming\n - vulcanized rubber by Charles Goodyear\n - microwaves as heating technology by Percy Spencer\n - pacemaker by Wilson Greatbatch\n - Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n - safety pin by Walter Hunt\n - Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're wri)\n\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*3+1*7*m+19*0|5+1n*0*1*5*3+1*0+3+1s*0|1+3+4*0+h+11*0+1a*n|1+2*n*1*d*3+1*n+7i*0|1+1*0*1*e*3+1*0+18+4*0|1+1*0*1*e*3+1+3*0|1+10*0*1*e*3+1*0|1+1c*0*1*e*3+1*0+z*n|1+1*n*1*e*3+1*0|2+2*0+a*n|j+19i*0|4+a5*0+f*n|1+1*0|1+1*n|2+g8*0|5+g*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+g4*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2+13*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+3e*i+1d+7g*0|1+1+7a*0|1+1+e1*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:2401":{"changeset":"Z:871>3|14=2hj=3e*n+3$tin","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660492112830}},"pad:accidental-tech:revs:2402":{"changeset":"Z:874>1|14=2hj=3h*n+1$g","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660492113431}},"pad:accidental-tech:revs:2403":{"changeset":"Z:875>5|14=2hj=3i*n+5$ 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n- tile mosaics and abstract painting as invention of raster/pixel graphics\n- invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n- invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n- preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n- origins of Airbnb as a social design project by design students\n- social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n - x-rays by Wilhelm Röntgen\n - pennicilin by Alexander Fleming\n - vulcanized rubber by Charles Goodyear\n - microwaves as heating technology by Percy Spencer\n - pacemaker by Wilson Greatbatch\n - Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n - safety pin by Walter Hunt\n - Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are \n\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n- tile mosaics and abstract painting as invention of raster/pixel graphics\n- invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n- invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n- preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n- origins of Airbnb as a social design project by design students\n- social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n - x-rays by Wilhelm Röntgen\n - pennicilin by Alexander Fleming\n - vulcanized rubber by Charles Goodyear\n - microwaves as heating technology by Percy Spencer\n - pacemaker by Wilson Greatbatch\n - Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n - safety pin by Walter Hunt\n - Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influ\n\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*3+1*7*m+19*0|5+1n*0*1*5*3+1*0+3+1s*0|1+3+4*0+h+11*0+1a*n|1+2*n*1*d*3+1*n+7i*0|1+1*0*1*e*3+1*0+18+4*0|1+1*0*1*e*3+1+3*0|1+10*0*1*e*3+1*0|1+1c*0*1*e*3+1*0+z*n|1+1*n*1*e*3+1*0|2+2*0+a*n|j+19i*0|4+a5*0+f*n|1+1*0|1+1*n|3+sp*0|5+g*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+g4*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2+13*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+3e*i+1d+7g*0|1+1+7a*0|1+1+e1*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:2601":{"changeset":"Z:8ji>5|15=2tj=3w*n+5$ence 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n- tile mosaics and abstract painting as invention of raster/pixel graphics\n- invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n- invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n- preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n- origins of Airbnb as a social design project by design students\n- social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n - x-rays by Wilhelm Röntgen\n - pennicilin by Alexander Fleming\n - vulcanized rubber by Charles Goodyear\n - microwaves as heating technology by Percy Spencer\n - pacemaker by Wilson Greatbatch\n - Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n - safety pin by Walter Hunt\n - Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Faceboo\n\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n- tile mosaics and abstract painting as invention of raster/pixel graphics\n- invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n- invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n- preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n- origins of Airbnb as a social design project by design students\n- preemption/antici of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes\n- social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n - x-rays by Wilhelm Röntgen\n - pennicilin by Alexander Fleming\n - vulcanized rubber by Charles Goodyear\n - microwaves as heating technology by Percy Spencer\n - pacemaker by Wilson Greatbatch\n - Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n - safety pin by Walter Hunt\n - Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n- tile mosaics and abstract painting as invention of raster/pixel graphics\n- invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n- invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n- preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n- origins of Airbnb as a social design project by design students\n- preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n- social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n - x-rays by Wilhelm Röntgen\n - pennicilin by Alexander Fleming\n - vulcanized rubber by Charles Goodyear\n - microwaves as heating technology by Percy Spencer\n - pacemaker by Wilson Greatbatch\n - Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n - safety pin by Walter Hunt\n - Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating social an\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*3+1*7*m+19*0|5+1n*0*1*5*3+1*0+3+1s*0|1+3+4*0+h+11*0+1a*n|1+2*n*1*d*3+1*n+7i*0|1+1*0*1*e*3+1*0+18+4*0|1+1*0*1*e*3+1+3*0|1+10*0*1*e*3+1*0|1+1c*0*1*e*3+1*0+z*n|1+1*n*1*e*3+1*0|2+2*0+a*n|k+1ik*0|4+a5*0+f*n|1+1*0|1+1*n|3+ze*n+2d*0|5+g*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+g4*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2+13*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+3e*i+1d+7g*0|1+1+7a*0|1+1+e1*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:2901":{"changeset":"Z:91m>3|17=3d7=2d*n+3$d 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n- tile mosaics and abstract painting as invention of raster/pixel graphics\n- invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n- invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n- preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n- origins of Airbnb as a social design project by design students\n- preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n- social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n - x-rays by Wilhelm Röntgen\n - pennicilin by Alexander Fleming\n - vulcanized rubber by Charles Goodyear\n - microwaves as heating technology by Percy Spencer\n - pacemaker by Wilson Greatbatch\n - Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n - safety pin by Walter Hunt\n - Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist \n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*3+1*7*m+19*0|5+1n*0*1*5*3+1*0+3+1s*0|1+3+4*0+h+11*0+1a*n|1+2*n*1*d*3+1*n+7i*0|1+1*0*1*e*3+1*0+18+4*0|1+1*0*1*e*3+1+3*0|1+10*0*1*e*3+1*0|1+1c*0*1*e*3+1*0+z*n|1+1*n*1*e*3+1*0|2+2*0+a*n|k+1ik*0|4+a5*0+f*n|1+1*0|1+1*n|3+ze*n+82*0|5+g*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+g4*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2+13*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+3e*i+1d+7g*0|1+1+7a*0|1+1+e1*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:3001":{"changeset":"Z:97b>3|17=3d7=82*n+3$as 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n- tile mosaics and abstract painting as invention of raster/pixel graphics\n- invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n- invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n- preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n- origins of Airbnb as a social design project by design students\n- preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n- social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n - x-rays by Wilhelm Röntgen\n - pennicilin by Alexander Fleming\n - vulcanized rubber by Charles Goodyear\n - microwaves as heating technology by Percy Spencer\n - pacemaker by Wilson Greatbatch\n - Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n - safety pin by Walter Hunt\n - Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse; artists s t\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n- tile mosaics and abstract painting as invention of raster/pixel graphics\n- invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n- invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n- preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n- origins of Airbnb as a social design project by design students\n- preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n- social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n - x-rays by Wilhelm Röntgen\n - pennicilin by Alexander Fleming\n - vulcanized rubber by Charles Goodyear\n - microwaves as heating technology by Percy Spencer\n - pacemaker by Wilson Greatbatch\n - Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n - safety pin by Walter Hunt\n - Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"recuper\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*3+1*7*m+19*0|5+1n*0*1*5*3+1*0+3+1s*0|1+3+4*0+h+11*0+1a*n|1+2*n*1*d*3+1*n+7i*0|1+1*0*1*e*3+1*0+18+4*0|1+1*0*1*e*3+1+3*0|1+10*0*1*e*3+1*0|1+1c*0*1*e*3+1*0+z*n|1+1*n*1*e*3+1*0|2+2*0+a*n|k+1ik*0|4+a5*0+f*n|1+1*0|1+1*n|4+17t*n+bz*0|5+g*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+g4*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2+13*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+3e*i+1d+7g*0|1+1+7a*0|1+1+e1*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:3201":{"changeset":"Z:9jn>5|18=3lm=bz*n+5$ation","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493025892}},"pad:accidental-tech:revs:3202":{"changeset":"Z:9js>1|18=3lm=c4*n+1$\"","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493026397}},"pad:accidental-tech:revs:3203":{"changeset":"Z:9jt>1|18=3lm=c5*n+1$)","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493026894}},"pad:accidental-tech:revs:3204":{"changeset":"Z:9ju>1|18=3lm=c5*n+1$,","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493032108}},"pad:accidental-tech:revs:3205":{"changeset":"Z:9jv>4|18=3lm=c6*n+4$ 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Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n- tile mosaics and abstract painting as invention of raster/pixel graphics\n- invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n- invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n- preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n- origins of Airbnb as a social design project by design students\n- preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n- social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n - x-rays by Wilhelm Röntgen\n - pennicilin by Alexander Fleming\n - vulcanized rubber by Charles Goodyear\n - microwaves as heating technology by Percy Spencer\n - pacemaker by Wilson Greatbatch\n - Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n - safety pin by Walter Hunt\n - Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real \n\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n- tile mosaics and abstract painting as invention of raster/pixel graphics\n- invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n- invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n- preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n- origins of Airbnb as a social design project by design students\n- preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n- social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n - x-rays by Wilhelm Röntgen\n - pennicilin by Alexander Fleming\n - vulcanized rubber by Charles Goodyear\n - microwaves as heating technology by Percy Spencer\n - pacemaker by Wilson Greatbatch\n - Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n - safety pin by Walter Hunt\n - Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real quesiton is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distr documenta fifteen\n\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*3+1*7*m+19*0|5+1n*0*1*5*3+1*0+3+1s*0|1+3+4*0+h+11*0+1a*n|1+2*n*1*d*3+1*n+7i*0|1+1*0*1*e*3+1*0+18+4*0|1+1*0*1*e*3+1+3*0|1+10*0*1*e*3+1*0|1+1c*0*1*e*3+1*0+z*n|1+1*n*1*e*3+1*0|2+2*0+a*n|k+1ik*0|4+a5*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+1y*0|5+g*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+g4*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2+13*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+3e*i+1d+7g*0|1+1+7a*0|1+1+e1*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:3401":{"changeset":"Z:9w6>2|19=42z=6m*n+2$iu","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493229303}},"pad:accidental-tech:revs:3402":{"changeset":"Z:9w8>0|19=42z=6n-1*n+1$b","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493229803}},"pad:accidental-tech:revs:3403":{"changeset":"Z:9w8>4|19=42z=6o*n+4$ute;","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493230403}},"pad:accidental-tech:revs:3404":{"changeset":"Z:9wc>1|19=42z=6s*n+1$ ","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493230801}},"pad:accidental-tech:revs:3405":{"changeset":"Z:9wd>1|19=42z=6t*n+1$p","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493233711}},"pad:accidental-tech:revs:3406":{"changeset":"Z:9we>3|19=42z=6u*n+3$rac","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493234111}},"pad:accidental-tech:revs:3407":{"changeset":"Z:9wh>4|19=42z=6x*n+4$tice","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493234713}},"pad:accidental-tech:revs:3408":{"changeset":"Z:9wl>2|19=42z=71*n+2$s ","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493235115}},"pad:accidental-tech:revs:3409":{"changeset":"Z:9wn1|19=42z=7b*n+1$)","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493242929}},"pad:accidental-tech:revs:3411":{"changeset":"Z:9we>2|19=42z=7c*n+2$. 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n- tile mosaics and abstract painting as invention of raster/pixel graphics\n- invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n- invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n- preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n- origins of Airbnb as a social design project by design students\n- preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n- social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n - x-rays by Wilhelm Röntgen\n - pennicilin by Alexander Fleming\n - vulcanized rubber by Charles Goodyear\n - microwaves as heating technology by Percy Spencer\n - pacemaker by Wilson Greatbatch\n - Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n - safety pin by Walter Hunt\n - Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real quesiton is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from \n\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n- tile mosaics and abstract painting as invention of raster/pixel graphics\n- invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n- invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n- preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n- origins of Airbnb as a social design project by design students\n- preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n- social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n - x-rays by Wilhelm Röntgen\n - pennicilin by Alexander Fleming\n - vulcanized rubber by Charles Goodyear\n - microwaves as heating technology by Percy Spencer\n - pacemaker by Wilson Greatbatch\n - Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n - safety pin by Walter Hunt\n - Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*3+1*7*m+19*0|5+1n*0*1*5*3+1*0+3+1s*0|1+3+4*0+h+11*0+1a*n|1+2*n*1*d*3+1*n+7i*0|1+1*0*1*e*3+1*0+18+4*0|1+1*0*1*e*3+1+3*0|1+10*0*1*e*3+1*0|1+1c*0*1*e*3+1*0+z*n|1+1*n*1*e*3+1*0|2+2*0+a*n|k+1ik*0|4+a5*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+5n*0|5+g*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+g4*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2+13*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+3e*i+1d+7g*0|1+1+7a*0|1+1+e1*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:3601":{"changeset":"Z:a7q>3|1a=4g1=5n*n+3$\"te","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493422088}},"pad:accidental-tech:revs:3602":{"changeset":"Z:a7t>4|1a=4g1=5q*n+4$chno","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493422595}},"pad:accidental-tech:revs:3603":{"changeset":"Z:a7x>3|1a=4g1=5u*n+3$log","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493423099}},"pad:accidental-tech:revs:3604":{"changeset":"Z:a80>2|1a=4g1=5x*n+2$y\"","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493423603}},"pad:accidental-tech:revs:3605":{"changeset":"Z:a82>4|1a=4g1=5z*n+4$ in ","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493424095}},"pad:accidental-tech:revs:3606":{"changeset":"Z:a86>3|1a=4g1=63*n+3$a n","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493424702}},"pad:accidental-tech:revs:3607":{"changeset":"Z:a89>4|1a=4g1=66*n+4$ow-c","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493425197}},"pad:accidental-tech:revs:3608":{"changeset":"Z:a8d>5|1a=4g1=6a*n+5$onven","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493425696}},"pad:accidental-tech:revs:3609":{"changeset":"Z:a8i>4|1a=4g1=6f*n+4$tion","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493426424}},"pad:accidental-tech:revs:3610":{"changeset":"Z:a8m>4|1a=4g1=6j*n+4$al s","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493426712}},"pad:accidental-tech:revs:3611":{"changeset":"Z:a8q>4|1a=4g1=6n*n+4$ense","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493427213}},"pad:accidental-tech:revs:3612":{"changeset":"Z:a8u>2|1a=4g1=6r*n+2$) ","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493427712}},"pad:accidental-tech:revs:3613":{"changeset":"Z:a8w>1|1a=4g1=6t*n+1$b","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493428217}},"pad:accidental-tech:revs:3614":{"changeset":"Z:a8x>2|1a=4g1=6u*n+2$ec","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493428722}},"pad:accidental-tech:revs:3615":{"changeset":"Z:a8z>4|1a=4g1=6w*n+4$omin","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493429218}},"pad:accidental-tech:revs:3616":{"changeset":"Z:a93>2|1a=4g1=70*n+2$g ","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493429721}},"pad:accidental-tech:revs:3617":{"changeset":"Z:a95>4|1a=4g1=72*n+4$the ","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493430222}},"pad:accidental-tech:revs:3618":{"changeset":"Z:a99>2|1a=4g1=76*n+2$le","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493430722}},"pad:accidental-tech:revs:3619":{"changeset":"Z:a9b>4|1a=4g1=78*n+4$adin","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493431225}},"pad:accidental-tech:revs:3620":{"changeset":"Z:a9f>4|1a=4g1=7c*n+4$g pa","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493431823}},"pad:accidental-tech:revs:3621":{"changeset":"Z:a9j>4|1a=4g1=7g*n+4$radi","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493432324}},"pad:accidental-tech:revs:3622":{"changeset":"Z:a9n>1|1a=4g1=7k*n+1$m","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493432826}},"pad:accidental-tech:revs:3623":{"changeset":"Z:a9o>1|1a=4g1=7k-1*n+2$gm","meta":{"author":"a.LowjiYmxoyQ4UIpr","timestamp":1660493433325}},"pad:accidental-tech:revs:3624":{"changeset":"Z:a9p>2|1a=4g1=7m*n+2$. 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n- tile mosaics and abstract painting as invention of raster/pixel graphics\n- invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n- invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n- preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n- origins of Airbnb as a social design project by design students\n- preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n- social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n - x-rays by Wilhelm Röntgen\n - pennicilin by Alexander Fleming\n - vulcanized rubber by Charles Goodyear\n - microwaves as heating technology by Percy Spencer\n - pacemaker by Wilson Greatbatch\n - Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n - safety pin by Walter Hunt\n - Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s (General Idea's FILE etc. up to V)\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n- tile mosaics and abstract painting as invention of raster/pixel graphics\n- invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n- invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n- preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n- origins of Airbnb as a social design project by design students\n- preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n- social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n - x-rays by Wilhelm Röntgen\n - pennicilin by Alexander Fleming\n - vulcanized rubber by Charles Goodyear\n - microwaves as heating technology by Percy Spencer\n - pacemaker by Wilson Greatbatch\n - Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n - safety pin by Walter Hunt\n - Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n \nIt w\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n- tile mosaics and abstract painting as invention of raster/pixel graphics\n- invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n- invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n- preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n- origins of Airbnb as a social design project by design students\n- preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n- social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n - x-rays by Wilhelm Röntgen\n - pennicilin by Alexander Fleming\n - vulcanized rubber by Charles Goodyear\n - microwaves as heating technology by Percy Spencer\n - pacemaker by Wilson Greatbatch\n - Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n - safety pin by Walter Hunt\n - Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n \nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n - In the field of digital technologies\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n- tile mosaics and abstract painting as invention of raster/pixel graphics\n- invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n- invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n- preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n- origins of Airbnb as a social design project by design students\n- preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n- social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n - x-rays by Wilhelm Röntgen\n - pennicilin by Alexander Fleming\n - vulcanized rubber by Charles Goodyear\n - microwaves as heating technology by Percy Spencer\n - pacemaker by Wilson Greatbatch\n - Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n - safety pin by Walter Hunt\n - Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n \nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n - In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are the most avid readers and viewers of science fiction literatu \n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n- tile mosaics and abstract painting as invention of raster/pixel graphics\n- invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n- invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n- preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n- origins of Airbnb as a social design project by design students\n- preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n- social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n - x-rays by Wilhelm Röntgen\n - pennicilin by Alexander Fleming\n - vulcanized rubber by Charles Goodyear\n - microwaves as heating technology by Percy Spencer\n - pacemaker by Wilson Greatbatch\n - Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n - safety pin by Walter Hunt\n - Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n \nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n - In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the op\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*3+1*7*m+19*0|5+1n*0*1*5*3+1*0+3+1s*0|1+3+4*0+h+11*0+1a*n|1+2*n*1*d*3+1*n+7i*0|1+1*0*1*e*3+1*0+18+4*0|1+1*0*1*e*3+1+3*0|1+10*0*1*e*3+1*0|1+1c*0*1*e*3+1*0+z*n|1+1*n*1*e*3+1*0|2+2*0+a*n|i+1d1*n+5d*t|3+4g*t+ds*n|2+6*0|2+2m*n|4+81*0+2x*n|3+1l*0|2+4m*n|3+b*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|5+g*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+g4*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2+13*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+3e*i+1d+7g*0|1+1+7a*0|1+1+e1*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:4101":{"changeset":"Z:b2t<2|z=27h=dq-2$","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660554135741}},"pad:accidental-tech:revs:4102":{"changeset":"Z:b2r>5|z=27h=dq*t+5$very ","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660554136243}},"pad:accidental-tech:revs:4103":{"changeset":"Z:b2w>3|z=27h=dv*t+3$opp","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660554136742}},"pad:accidental-tech:revs:4104":{"changeset":"Z:b2z>4|z=27h=dy*t+4$osit","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660554137242}},"pad:accidental-tech:revs:4105":{"changeset":"Z:b33>1|z=27h=e2*t+1$i","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660554137743}},"pad:accidental-tech:revs:4106":{"changeset":"Z:b34>0|z=27h=e2-1*t+1$e","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660554138245}},"pad:accidental-tech:revs:4107":{"changeset":"Z:b34>4|z=27h=e3*t+4$ opf","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660554138743}},"pad:accidental-tech:revs:4108":{"changeset":"Z:b38<1|z=27h=e6-1$","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660554139246}},"pad:accidental-tech:revs:4109":{"changeset":"Z:b37>1|z=27h=e5-1*t+2$f ","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660554139748}},"pad:accidental-tech:revs:4110":{"changeset":"Z:b38>3|z=27h=e7*t+3$an ","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660554140248}},"pad:accidental-tech:revs:4111":{"changeset":"Z:b3b>2|z=27h=ea*t+2$\"a","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660554140750}},"pad:accidental-tech:revs:4112":{"changeset":"Z:b3d>4|z=27h=ec*t+4$ccid","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660554141251}},"pad:accidental-tech:revs:4113":{"changeset":"Z:b3h>5|z=27h=eg*t+5$ental","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660554141751}},"pad:accidental-tech:revs:4114":{"changeset":"Z:b3m>4|z=27h=el*t+4$ tec","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660554142254}},"pad:accidental-tech:revs:4115":{"changeset":"Z:b3q>3|z=27h=ep*t+3$hno","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660554142754}},"pad:accidental-tech:revs:4116":{"changeset":"Z:b3t>3|z=27h=es*t+3$log","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660554143253}},"pad:accidental-tech:revs:4117":{"changeset":"Z:b3w>2|z=27h=ev*t+2$y\"","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660554143754}},"pad:accidental-tech:revs:4118":{"changeset":"Z:b3y>2|z=27h=ex*t+2$. 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n- tile mosaics and abstract painting as invention of raster/pixel graphics\n- invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n- invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n- preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n- origins of Airbnb as a social design project by design students\n- preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n- social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n - x-rays by Wilhelm Röntgen\n - pennicilin by Alexander Fleming\n - vulcanized rubber by Charles Goodyear\n - microwaves as heating technology by Percy Spencer\n - pacemaker by Wilson Greatbatch\n - Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n - safety pin by Walter Hunt\n - Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n \nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n - In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n - Art practices can also promote simple activities to technologies: examples includes the \"event\" in Fluxus and \"nonkrong\" in Indonesian art collectives and documenta \n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n- tile mosaics and abstract painting as invention of raster/pixel graphics\n- invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n- invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n- preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n- origins of Airbnb as a social design project by design students\n- preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n- social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n - x-rays by Wilhelm Röntgen\n - pennicilin by Alexander Fleming\n - vulcanized rubber by Charles Goodyear\n - microwaves as heating technology by Percy Spencer\n - pacemaker by Wilson Greatbatch\n - Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n - safety pin by Walter Hunt\n - Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n \nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n - In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n - Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples includes the \"event\" in Fluxus and \"nonkrong\" in Indonesian art collectives and documenta fifteen. Often, art then serves as a bridge or interface for these activities to being appropriated i \"design thinking\"\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n- tile mosaics and abstract painting as invention of raster/pixel graphics\n- invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n- invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n- preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n- origins of Airbnb as a social design project by design students\n- preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n- social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n - x-rays by Wilhelm Röntgen\n - pennicilin by Alexander Fleming\n - vulcanized rubber by Charles Goodyear\n - microwaves as heating technology by Percy Spencer\n - pacemaker by Wilson Greatbatch\n - Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n - safety pin by Walter Hunt\n - Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n \nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n - In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n - Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples includes the \"event\" in Fluxus (which could arguably s and \"nonkrong\" in Indonesian art collectives and documenta fifteen. Often, art then serves as a bridge or interface for these activities to being appropriated into business models and industry technologies. A good example is how situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n- tile mosaics and abstract painting as invention of raster/pixel graphics\n- invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n- invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n- preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n- origins of Airbnb as a social design project by design students\n- preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n- social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n - x-rays by Wilhelm Röntgen\n - pennicilin by Alexander Fleming\n - vulcanized rubber by Charles Goodyear\n - microwaves as heating technology by Percy Spencer\n - pacemaker by Wilson Greatbatch\n - Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n - safety pin by Walter Hunt\n - Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n \nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n - In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n - Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include how Dadaists elevated the cutting-and-pasting of newspaper photos in Swiss folk art to collage and photomo to the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and \"nonkrong\" in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n- tile mosaics and abstract painting as invention of raster/pixel graphics\n- invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n- invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n- preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n- origins of Airbnb as a social design project by design students\n- preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n- social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n - x-rays by Wilhelm Röntgen\n - pennicilin by Alexander Fleming\n - vulcanized rubber by Charles Goodyear\n - microwaves as heating technology by Percy Spencer\n - pacemaker by Wilson Greatbatch\n - Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n - safety pin by Walter Hunt\n - Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n \nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n - In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n - Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around on photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and \"nonkrong\" in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n difficult to differentiate from techno-social practices a\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n* x-rays by Wilhelm Röntgen\n* pennicilin by Alexander Fleming\n* vulcanized rubber by Charles Goodyear\n* microwaves as heating technology by Percy Spencer\n* pacemaker by Wilson Greatbatch\n* Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n* safety pin by Walter Hunt\n* Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n \nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and \"nonkrong\" in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the d etc.]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n* x-rays by Wilhelm Röntgen\n* pennicilin by Alexander Fleming\n* vulcanized rubber by Charles Goodyear\n* microwaves as heating technology by Percy Spencer\n* pacemaker by Wilson Greatbatch\n* Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n* safety pin by Walter Hunt\n* Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n \nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and \"nonkrong\" in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to ]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n* x-rays by Wilhelm Röntgen\n* pennicilin by Alexander Fleming\n* vulcanized rubber by Charles Goodyear\n* microwaves as heating technology by Percy Spencer\n* pacemaker by Wilson Greatbatch\n* Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n* safety pin by Walter Hunt\n* Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n \nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and \"nonkrong\" in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\nAccidental te\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n* x-rays by Wilhelm Röntgen\n* pennicilin by Alexander Fleming\n* vulcanized rubber by Charles Goodyear\n* microwaves as heating technology by Percy Spencer\n* pacemaker by Wilson Greatbatch\n* Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n* safety pin by Walter Hunt\n* Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n \nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and \"nonkrong\" in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n[proposed working title:]\n*Accidental technologies and/in art practice\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n* x-rays by Wilhelm Röntgen\n* pennicilin by Alexander Fleming\n* vulcanized rubber by Charles Goodyear\n* microwaves as heating technology by Percy Spencer\n* pacemaker by Wilson Greatbatch\n* Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n* safety pin by Walter Hunt\n* Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n* Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and acce\n\n \nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and \"nonkrong\" in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n[proposed working title:]\n*Accidental technologies and/in art practice\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n* x-rays by Wilhelm Röntgen\n* pennicilin by Alexander Fleming\n* vulcanized rubber by Charles Goodyear\n* microwaves as heating technology by Percy Spencer\n* pacemaker by Wilson Greatbatch\n* Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n* safety pin by Walter Hunt\n* Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n* Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010\nhttp://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, \n \n\n \nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and \"nonkrong\" in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n[proposed working title:]\n*Accidental technologies and/in art practice\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n* x-rays by Wilhelm Röntgen\n* pennicilin by Alexander Fleming\n* vulcanized rubber by Charles Goodyear\n* microwaves as heating technology by Percy Spencer\n* pacemaker by Wilson Greatbatch\n* Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n* safety pin by Walter Hunt\n* Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and t \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010\nhttp://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n \n\n \nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and \"nonkrong\" in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n[proposed working title:]\n*Accidental technologies and/in art practice\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n* x-rays by Wilhelm Röntgen\n* pennicilin by Alexander Fleming\n* vulcanized rubber by Charles Goodyear\n* microwaves as heating technology by Percy Spencer\n* pacemaker by Wilson Greatbatch\n* Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n* safety pin by Walter Hunt\n* Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n \n\n \nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and \"nonkrong\" in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n- New York Correspondance School (NYCS) as the historically first social network\n- subsequent history \n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*3+1*7*m+19*0|1+1*t*y*1*3+1*t|2+r*t*y*1*3+1*t+17*0|2+2*t|3+j7*t+g*0|2+1k*0*1*5*3+1*0+3+1s*0|1+3+4*0+h+11*0+1a*n|1+2*n*1*d*3+1*n+7i*0|1+1*0*1*e*3+1*0+18+4*0|1+1*0*1*e*3+1+3*0|1+10*0*1*e*3+1*0|1+1c*0*1*e*3+1*0+z*n|1+1*n*1*e*3+1*0|2+2*0+a*n|2+2r*t*1*f*3*g+1*n+20*t+27*n|1+1*t*1*f*3*h+1*n|1+50*t*1*f*3*k+1*n|1+3q*t*1*f*3*l+1*n|1+5t*t*1*f*3*u+1*n|1+1s*t*1*f*3*v+1*n|1+90*t*1*f*3*w+1*n|3+9f*t*1*f*3*g+1*n|1+u*t*1*f*3*h+1*n|1+10*t*1*f*3*k+1*n|1+16*t*1*f*3*l+1*n|1+1i*t*1*f*3*u+1*n|1+z*t*1*f*3*v+1*n|1+2g*t*1*f*3*w+1*n|1+u*t*1*f*3*x+1*n+5b*t|3+v*t*1*f*3*g+1*t|1+5y*t*1*f*3*h+1*t|7+ka*t*1*f*3*g+1*t|1+et*t*1*f*3*h+1*t+ok*n|2+6*0|2+2m*n+6i*t|3+2b*t+l*n|4+1j*0+2x*n|3+1l*0|2+4m*n|3+b*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|5+g*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+g4*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2+13*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+3e*i+1d+7g*0|1+1+7a*0|1+1+e1*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:5401":{"changeset":"Z:d5g>3|1k=4wl=l*t+3$of 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n[proposed working title:]\n*Accidental technologies and/in art practice\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n* x-rays by Wilhelm Röntgen\n* pennicilin by Alexander Fleming\n* vulcanized rubber by Charles Goodyear\n* microwaves as heating technology by Percy Spencer\n* pacemaker by Wilson Greatbatch\n* Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n* safety pin by Walter Hunt\n* Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n \n\n \nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and \"nonkrong\" in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n- New York Correspondance School (NYCS) as the historically first social network/social medium\n- the subsequent history of Mail Art anticipated all contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the moniker of t\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n[proposed working title:]\n*Accidental technologies and/in art practice\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n* x-rays by Wilhelm Röntgen\n* pennicilin by Alexander Fleming\n* vulcanized rubber by Charles Goodyear\n* microwaves as heating technology by Percy Spencer\n* pacemaker by Wilson Greatbatch\n* Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n* safety pin by Walter Hunt\n* Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n \n\n \nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and \"nonkrong\" in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980\n*an accidental technology, because the aim \n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n[proposed working title:]\n*Accidental technologies and/in art practice\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n* x-rays by Wilhelm Röntgen\n* pennicilin by Alexander Fleming\n* vulcanized rubber by Charles Goodyear\n* microwaves as heating technology by Percy Spencer\n* pacemaker by Wilson Greatbatch\n* Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n* safety pin by Walter Hunt\n* Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n \n\n \nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and \"nonkrong\" in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose account in Howard Rheingo\n*an accidental technology, because the aim \n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*3+1*7*m+19*0|1+1*t*y*1*3+1*t|2+r*t*y*1*3+1*t+17*0|2+2*t|3+j7*t+g*0|2+1k*0*1*5*3+1*0+3+1s*0|1+3+4*0+h+11*0+1a*n|1+2*n*1*d*3+1*n+7i*0|1+1*0*1*e*3+1*0+18+4*0|1+1*0*1*e*3+1+3*0|1+10*0*1*e*3+1*0|1+1c*0*1*e*3+1*0+z*n|1+1*n*1*e*3+1*0|2+2*0+a*n|2+2r*t*1*f*3*g+1*n+20*t+27*n|1+1*t*1*f*3*h+1*n|1+50*t*1*f*3*k+1*n|1+3q*t*1*f*3*l+1*n|1+5t*t*1*f*3*u+1*n|1+1s*t*1*f*3*v+1*n|1+90*t*1*f*3*w+1*n|3+9f*t*1*f*3*g+1*n|1+u*t*1*f*3*h+1*n|1+10*t*1*f*3*k+1*n|1+16*t*1*f*3*l+1*n|1+1i*t*1*f*3*u+1*n|1+z*t*1*f*3*v+1*n|1+2g*t*1*f*3*w+1*n|1+u*t*1*f*3*x+1*n+5b*t|3+v*t*1*f*3*g+1*t|1+5y*t*1*f*3*h+1*t|7+ka*t*1*f*3*g+1*t|1+et*t*1*f*3*h+1*t+ok*n|2+6*0|2+2m*n+6i*t|2+2*t*1*f*3*g+1*t|1+2l*t*1*f*3*h+1*t|1+78*t*1*f*3*k+1*t|1+8f*t*1*f*3*l+1*t+16*n|4+1j*0+2x*n|3+1l*0|2+4m*n|3+b*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|5+g*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+g4*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2+13*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+3e*i+1d+7g*0|1+1+7a*0|1+1+e1*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:5701":{"changeset":"Z:dm4>3|1l=547=8f*t+3$ld'","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660599175277}},"pad:accidental-tech:revs:5702":{"changeset":"Z:dm7>2|1l=547=8i*t+2$s 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n[proposed working title:]\n*Accidental technologies and/in art practice\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n* x-rays by Wilhelm Röntgen\n* pennicilin by Alexander Fleming\n* vulcanized rubber by Charles Goodyear\n* microwaves as heating technology by Percy Spencer\n* pacemaker by Wilson Greatbatch\n* Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n* safety pin by Walter Hunt\n* Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n \n\n \nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and \"nonkrong\" in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book \"The Virtual Community\" factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because i aim \n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n[proposed working title:]\n*Accidental technologies and/in art practice\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n* x-rays by Wilhelm Röntgen\n* pennicilin by Alexander Fleming\n* vulcanized rubber by Charles Goodyear\n* microwaves as heating technology by Percy Spencer\n* pacemaker by Wilson Greatbatch\n* Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n* safety pin by Walter Hunt\n* Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n \n\n \nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and \"nonkrong\" in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book \"The Virtual Community\" factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson to Vita self-organized/non-hierarchical/inclusive alternative to the [museum/curatorial] art system.\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n[proposed working title:]\n*Accidental technologies and/in art practice\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n* x-rays by Wilhelm Röntgen\n* pennicilin by Alexander Fleming\n* vulcanized rubber by Charles Goodyear\n* microwaves as heating technology by Percy Spencer\n* pacemaker by Wilson Greatbatch\n* Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n* safety pin by Walter Hunt\n* Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n \n\n \nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and \"nonkrong\" in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book \"The Virtual Community\" factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low. [Arguably.]\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n[proposed working title:]\n*Accidental technologies and/in art practice\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n* x-rays by Wilhelm Röntgen\n* pennicilin by Alexander Fleming\n* vulcanized rubber by Charles Goodyear\n* microwaves as heating technology by Percy Spencer\n* pacemaker by Wilson Greatbatch\n* Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n* safety pin by Walter Hunt\n* Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n \n\n \nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and \"nonkrong\" in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book \"The Virtual Community\" factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Blacks comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: barr\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n[proposed working title:]\n*Accidental technologies and/in art practice\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n* x-rays by Wilhelm Röntgen\n* pennicilin by Alexander Fleming\n* vulcanized rubber by Charles Goodyear\n* microwaves as heating technology by Percy Spencer\n* pacemaker by Wilson Greatbatch\n* Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n* safety pin by Walter Hunt\n* Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n \n\n \nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and \"nonkrong\" in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book \"The Virtual Community\" factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Blacks comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation versus quality of contributio)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*3+1*7*m+19*0|1+1*t*y*1*3+1*t|2+r*t*y*1*3+1*t+17*0|2+2*t|3+j7*t+g*0|2+1k*0*1*5*3+1*0+3+1s*0|1+3+4*0+h+11*0+1a*n|1+2*n*1*d*3+1*n+7i*0|1+1*0*1*e*3+1*0+18+4*0|1+1*0*1*e*3+1+3*0|1+10*0*1*e*3+1*0|1+1c*0*1*e*3+1*0+z*n|1+1*n*1*e*3+1*0|2+2*0+a*n|2+2r*t*1*f*3*g+1*n+20*t+27*n|1+1*t*1*f*3*h+1*n|1+50*t*1*f*3*k+1*n|1+3q*t*1*f*3*l+1*n|1+5t*t*1*f*3*u+1*n|1+1s*t*1*f*3*v+1*n|1+90*t*1*f*3*w+1*n|3+9f*t*1*f*3*g+1*n|1+u*t*1*f*3*h+1*n|1+10*t*1*f*3*k+1*n|1+16*t*1*f*3*l+1*n|1+1i*t*1*f*3*u+1*n|1+z*t*1*f*3*v+1*n|1+2g*t*1*f*3*w+1*n|1+u*t*1*f*3*x+1*n+5b*t|3+v*t*1*f*3*g+1*t|1+5y*t*1*f*3*h+1*t|7+ka*t*1*f*3*g+1*t|1+et*t*1*f*3*h+1*t+ok*n|2+6*0|2+2m*n+6i*t|2+2*t*1*f*3*g+1*t|1+2l*t*1*f*3*h+1*t|1+78*t*1*f*3*k+1*t|1+cu*t*1*f*3*l+1*t|1+8c*t*1*f*3*u+1*t|1+6i*t*1*f*3*v+1*t+3l*t*i+4*t+56*n|4+1j*0+2x*n|3+1l*0|2+4m*n|3+b*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|5+g*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+g4*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2+13*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+3e*i+1d+7g*0|1+1+7a*0|1+1+e1*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:6201":{"changeset":"Z:ed4>2|1o=5vy=8v*t+2$ns","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660599736841}},"pad:accidental-tech:revs:6202":{"changeset":"Z:ed6<5|1o=5vy=82-6*t+1$a","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660599738646}},"pad:accidental-tech:revs:6203":{"changeset":"Z:ed1>3|1o=5vy=83*t+3$s o","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660599739145}},"pad:accidental-tech:revs:6204":{"changeset":"Z:ed4>4|1o=5vy=86*t+4$ppos","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660599739645}},"pad:accidental-tech:revs:6205":{"changeset":"Z:ed8>2|1o=5vy=8a*t+2$ed","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660599740147}},"pad:accidental-tech:revs:6206":{"changeset":"Z:eda>3|1o=5vy=8c*t+3$ to","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660599740651}},"pad:accidental-tech:revs:6207":{"changeset":"Z:edd>1|1o=5vy=q*t+1$'","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660599750570}},"pad:accidental-tech:revs:6208":{"changeset":"Z:ede>0|1l=547=5v*i=l$","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660599761294}},"pad:accidental-tech:revs:6209":{"changeset":"Z:ede>0|1l=547=3k*i=8$","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660599763803}},"pad:accidental-tech:revs:6210":{"changeset":"Z:ede<1|1j=4uc*g=1|1=2l*h=1|1=78*k=1=94-1|1=3p*l=1|1=8c*u=1|1=6i*v=1$","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660599767720}},"pad:accidental-tech:revs:6211":{"changeset":"Z:edd>0|1l=547=95*i=l$","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660599768910}},"pad:accidental-tech:revs:6212":{"changeset":"Z:edd<1|1j=4uc*g=1|1=2l*h=1|1=78*k=1=9p-1|1=33*l=1|1=8c*u=1|1=6i*v=1$","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660599770012}},"pad:accidental-tech:revs:6213":{"changeset":"Z:edc>1|1o=5vw=96*t+1$;","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660599779839}},"pad:accidental-tech:revs:6214":{"changeset":"Z:edd>2|1o=5vw=97*t+2$ s","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660599780337}},"pad:accidental-tech:revs:6215":{"changeset":"Z:edf>3|1o=5vw=99*t+3$ee ","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660599780942}},"pad:accidental-tech:revs:6216":{"changeset":"Z:edi>5|1o=5vw=9c*t+5$also ","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660599781343}},"pad:accidental-tech:revs:6217":{"changeset":"Z:edn>3|1o=5vw=9h*t+3$Cra","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660599781942}},"pad:accidental-tech:revs:6218":{"changeset":"Z:edq>1|1o=5vw=9k*t+1$i","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660599782442}},"pad:accidental-tech:revs:6219":{"changeset":"Z:edr>3|1o=5vw=9l*t+3$g A","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660599782950}},"pad:accidental-tech:revs:6220":{"changeset":"Z:edu>2|1o=5vw=9o*t+2$. 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","meta":{"author":"a.SHnZ8wHiOJAZKNhH","timestamp":1660599835002,"pool":{"numToAttrib":{"0":["author","a.JEqAYyDjjr7nBbrP"],"1":["insertorder","first"],"2":["list","indent1"],"3":["lmkr","1"],"4":["list","indent2"],"5":["list","indent3"],"6":["author",""],"7":["bold","true"],"8":["font-size","20"],"9":["align","center"],"10":["list","indent4"],"11":["list","indent5"],"12":["list","indent6"],"13":["list","indent12"],"14":["list","indent16"],"15":["list","bullet1"],"16":["start","1"],"17":["start","2"],"18":["italic","true"],"19":["underline","true"],"20":["start","3"],"21":["start","4"],"22":["font-size:20","true"],"23":["author","a.LowjiYmxoyQ4UIpr"],"24":["list","indent8"],"25":["list","indent9"],"26":["list","indent10"],"27":["list","indent11"],"28":["italic",""],"29":["author","a.SHnZ8wHiOJAZKNhH"],"30":["start","5"],"31":["start","6"],"32":["start","7"],"33":["start","8"],"34":["heading","h1"],"35":["start","9"],"36":["list","number1"]},"attribToNum":{"author,a.JEqAYyDjjr7nBbrP":0,"insertorder,first":1,"list,indent1":2,"lmkr,1":3,"list,indent2":4,"list,indent3":5,"author,":6,"bold,true":7,"font-size,20":8,"align,center":9,"list,indent4":10,"list,indent5":11,"list,indent6":12,"list,indent12":13,"list,indent16":14,"list,bullet1":15,"start,1":16,"start,2":17,"italic,true":18,"underline,true":19,"start,3":20,"start,4":21,"font-size:20,true":22,"author,a.LowjiYmxoyQ4UIpr":23,"list,indent8":24,"list,indent9":25,"list,indent10":26,"list,indent11":27,"italic,":28,"author,a.SHnZ8wHiOJAZKNhH":29,"start,5":30,"start,6":31,"start,7":32,"start,8":33,"heading,h1":34,"start,9":35,"list,number1":36},"nextNum":37},"atext":{"text":"*đŸ”¶ đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n[proposed working title:]\n*Accidental technologies and/in art practice\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n* x-rays by Wilhelm Röntgen\n* pennicilin by Alexander Fleming\n* vulcanized rubber by Charles Goodyear\n* microwaves as heating technology by Percy Spencer\n* pacemaker by Wilson Greatbatch\n* Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n* safety pin by Walter Hunt\n* Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n \n\n \nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and \"nonkrong\" in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? \n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n[proposed working title:]\n*Accidental technologies and/in art practice\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n* x-rays by Wilhelm Röntgen\n* pennicilin by Alexander Fleming\n* vulcanized rubber by Charles Goodyear\n* microwaves as heating technology by Percy Spencer\n* pacemaker by Wilson Greatbatch\n* Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n* safety pin by Walter Hunt\n* Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n*disposable feminine napkins/menstrual pads invented by nurses in WWI to stop bleeding of wounded soldier\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n \n\n \nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and \"nonkrong\" in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur within the frames of the institution and can be directly used and scaled-up for production.\n\nFrom a common-sense perspective, increased control over time comes as a consequence of the conquest of space. [...] an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\nMitchell introduces the challe\n\nCoincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n*disposable feminine napkins/menstrual pads purportedly invented by British/American nurses in WW I to stop bleeding of wounded soldiers\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and nonkrong in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how Situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n2022 December notes relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur within the frames of the institution and can be directly used and scaled-up for production.\n\nFrom a common-sense perspective, increased control over time comes as a consequence of the conquest of space. [...] an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n\nMitchell introduces the challenge to consider delay and slowed time as an alternative to consider large infrastructure projects, something akin to environmentalists' call for degrowth\n\nCoincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n*disposable feminine napkins/menstrual pads purportedly invented by British/American nurses in WW I to stop bleeding of wounded soldiers\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and nonkrong in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how Situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n2022 December notes\nrelation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n\nFrom a common-sense perspective, increased control over time comes as a consequence of the conquest of space. [...] an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n\nMitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what lends the cringe\n\nCoincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n*disposable feminine napkins/menstrual pads purportedly invented by British/American nurses in WW I to stop bleeding of wounded soldiers\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and nonkrong in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how Situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n2022 December notes\nrelation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n\nFrom a common-sense perspective, increased control over time comes as a consequence of the conquest of space. [...] an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n\nMitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what colours the cringy tint of romanticism to anyone and anything that is not on board with continued modernisation, y\n\nCoincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n*disposable feminine napkins/menstrual pads purportedly invented by British/American nurses in WW I to stop bleeding of wounded soldiers\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and nonkrong in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how Situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n2022 December notes\nrelation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n\nFrom a common-sense perspective, increased control over time comes as a consequence of the conquest of space. [...] an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n\nMitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet what Mitchell speaks of in terms of the built infrastructure of highways and railways, is a durational temporality by which \"the present extracts wealth from the future\" \n\nCoincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n*disposable feminine napkins/menstrual pads purportedly invented by British/American nurses in WW I to stop bleeding of wounded soldiers\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and nonkrong in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how Situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n2022 December notes\nrelation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n\nFrom a common-sense perspective, increased control over time comes as a consequence of the conquest of space. [...] an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n\nMitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both\n\n\nyet what Mitchell speaks of in terms of the built infrastructure of highways and railways, is a durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.\n\n\n\n\nCoincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n*disposable feminine napkins/menstrual pads purportedly invented by British/American nurses in WW I to stop bleeding of wounded soldiers\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and nonkrong in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how Situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n2022 December notes\nrelation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n\nFrom a common-sense perspective, increased control over time comes as a consequence of the conquest of space. [...] an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n\nMitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality\nby which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue i\n\n\n\n\nCoincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n*disposable feminine napkins/menstrual pads purportedly invented by British/American nurses in WW I to stop bleeding of wounded soldiers\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and nonkrong in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how Situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n2022 December 易-notes\nrelation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n\nIn his essay \"inMitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality\nby which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n\n\n\n\nCoincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n*disposable feminine napkins/menstrual pads purportedly invented by British/American nurses in WW I to stop bleeding of wounded soldiers\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and nonkrong in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how Situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n2022 December 易-notes\nrelation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n\nThe temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip, if you will, in a planned timeline of an expe\n\n\n\n\nCoincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n*disposable feminine napkins/menstrual pads purportedly invented by British/American nurses in WW I to stop bleeding of wounded soldiers\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and nonkrong in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how Situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n2022 December 易-notes\nrelation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n\nThe temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. World War I nurses appropriate particular gauze bandages \n\n*disposable feminine napkins/menstrual pads purportedly invented by British/American nurses in WW I to stop bleeding of wounded soldiers\n\n\n\n\n\n\nCoincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and nonkrong in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how Situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n2022 December 易-notes\nrelation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n\nThe temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes \n\n\n\n\n\n\n\nCoincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and nonkrong in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how Situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n2022 December 易-notes\nrelation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n\nThe temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. The nature of 'accident' in these examples of great technologies which have revolutionised\n\n\n\n\n\n\n\nCoincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and nonkrong in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how Situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n2022 December 易-notes\nrelation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n\nThe temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be called an accident, but the manner by which they came about varies, from literal mishap to reappropriated use \n\n\n\n\n\n\n\nCoincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and nonkrong in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how Situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n2022 December 易-notes\nrelation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n\nThe temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortageThe nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be called an accident, but the manner by which they came about varies, from literal mishap to reappropriated use to a failed experiment which begetsa new turn.\n\n\n\n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\nCoincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and nonkrong in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how Situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n2022 December 易-notes\nrelation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n\nThe temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be called an accident, but the manner by which they came about varies, from literal mishap to reappropriated use to a failed experiment which begetsa new turn.\n\n\n\n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\nCoincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and nonkrong in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how Situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n2022 December 易-notes\nrelation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n\nThe temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are begotten \n\n\n\n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\nCoincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and nonkrong in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how Situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n2022 December 易-notes\nrelation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n\nThe temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen \n\n\n\n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\nCoincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and nonkrong in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how Situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n2022 December 易-notes\nrelation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n\nThe temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n\nThe tempo\n\n\n\n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\nCoincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and nonkrong in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how Situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n2022 December 易-notes\nrelation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n\nThe temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, \n\n\n\n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\nCoincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and nonkrong in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how Situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n[could maybe wrapped into II & IV, what do you think?]\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n[Elaine]\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13*16*j+l*13|3+g6*13*1*4*3+1*13*i+32*13|1+1*13*1*4*3+1*13*i+6*13|1+1*13*1*4*3+1*13*i+7u*13|1+1*14*13*1*3+1*13|h+2c1*t|1+q*t*y*1*3+1*t+17*0|2+2*t|3+j7*t+g*0|2+1k*0*1*5*3+1*0+3+1s*0|1+3+4*0+h+11*0+1a*n|1+2*n*1*d*3+1*n+7i*0|1+1*0*1*e*3+1*0+18+4*0|1+1*0*1*e*3+1+3*0|1+10*0*1*e*3+1*0|1+1c*0*1*e*3+1*0+z*n|1+1*n*1*e*3+1*0|2+2*0+a*n|2+2r*t*1*f*3*g+1*n+20*t+27*n|1+1*t*1*f*3*h+1*n|1+50*t*1*f*3*k+1*n|1+3q*t*1*f*3*l+1*n|1+5t*t*1*f*3*u+1*n|1+1s*t*1*f*3*v+1*n|1+90*t*1*f*3*w+1*n|3+9f*13*1*f*3*g+1*n|1+q*t*1*f*3*h+1*n+6*13+1*n|1+p*t*1*f*3*k+1*n|1+12*t*1*f*3*l+1*n|1+1e*t*1*f*3*u+1*n|1+v*t*1*f*3*v+1*n|1+2c*t*1*f*3*w+1*n|1+q*t*1*f*3*x+1*n+57*13|1+1*t|2+u*t*1*f*3*g+1*t|1+5y*t*1*f*3*h+1*t|7+k5*t*1*f*3*g+1*t|1+et*t*1*f*3*h+1*t+ee*t*i+8*t+6g*13+1*t+3f*n|2+6*0|2+2m*n+6i*t|2+2*t*1*f*3*g+1*t|1+2l*t*1*f*3*h+1*t|1+78*t*1*f*3*k+1*t+3j*t*i+8*t+23*t*i+l*t+2p*t*i+l*t|1+33*t*1*f*3*l+1*t|1+8c*t*1*f*3*u+1*t|1+6i*t*1*f*3*v+1*t+3m*t*i+4*t+c9*n|4+1j*0+2x*n|3+1l*0|2+4m*n|3+b*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+g4*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2+13*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+3e*i+1d+7g*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:8401":{"changeset":"Z:hn5<1|e=2os=42-1$","meta":{"author":"a.ERPqZS7yHknYSYTK","timestamp":1671394995137}},"pad:accidental-tech:revs:8402":{"changeset":"Z:hn4<1|e=2os=41-1$","meta":{"author":"a.ERPqZS7yHknYSYTK","timestamp":1671394995637}},"pad:accidental-tech:revs:8403":{"changeset":"Z:hn3>1|e=2os=41*13+1$,","meta":{"author":"a.ERPqZS7yHknYSYTK","timestamp":1671394996638}},"pad:accidental-tech:revs:8404":{"changeset":"Z:hn4>4|e=2os=42*13+4$ or ","meta":{"author":"a.ERPqZS7yHknYSYTK","timestamp":1671394997139}},"pad:accidental-tech:revs:8405":{"changeset":"Z:hn8>1|e=2os=46*13+1$t","meta":{"author":"a.ERPqZS7yHknYSYTK","timestamp":1671394998441}},"pad:accidental-tech:revs:8406":{"changeset":"Z:hn9>3|e=2os=47*13+3$hat","meta":{"author":"a.ERPqZS7yHknYSYTK","timestamp":1671394998943}},"pad:accidental-tech:revs:8407":{"changeset":"Z:hnc<1|e=2os=49-1$","meta":{"author":"a.ERPqZS7yHknYSYTK","timestamp":1671394999445}},"pad:accidental-tech:revs:8408":{"changeset":"Z:hnb<2|e=2os=47-2$","meta":{"author":"a.ERPqZS7yHknYSYTK","timestamp":1671394999945}},"pad:accidental-tech:revs:8409":{"changeset":"Z:hn9>2|e=2os=47*13+2$ha","meta":{"author":"a.ERPqZS7yHknYSYTK","timestamp":1671395000447}},"pad:accidental-tech:revs:8410":{"changeset":"Z:hnb>2|e=2os=49*13+2$t ","meta":{"author":"a.ERPqZS7yHknYSYTK","timestamp":1671395000947}},"pad:accidental-tech:revs:8411":{"changeset":"Z:hnd>5|e=2os=4b*13+5$which","meta":{"author":"a.ERPqZS7yHknYSYTK","timestamp":1671395001448}},"pad:accidental-tech:revs:8412":{"changeset":"Z:hni>4|e=2os=4g*13+4$ can","meta":{"author":"a.ERPqZS7yHknYSYTK","timestamp":1671395001949}},"pad:accidental-tech:revs:8413":{"changeset":"Z:hnm>2|e=2os=4k*13+2$no","meta":{"author":"a.ERPqZS7yHknYSYTK","timestamp":1671395002451}},"pad:accidental-tech:revs:8414":{"changeset":"Z:hno>4|e=2os=4m*13+4$t be","meta":{"author":"a.ERPqZS7yHknYSYTK","timestamp":1671395002951}},"pad:accidental-tech:revs:8415":{"changeset":"Z:hns>3|e=2os=4q*13+3$ sc","meta":{"author":"a.ERPqZS7yHknYSYTK","timestamp":1671395003452}},"pad:accidental-tech:revs:8416":{"changeset":"Z:hnv>3|e=2os=4t*13+3$ale","meta":{"author":"a.ERPqZS7yHknYSYTK","timestamp":1671395003953}},"pad:accidental-tech:revs:8417":{"changeset":"Z:hny>2|e=2os=4w*13+2$d-","meta":{"author":"a.ERPqZS7yHknYSYTK","timestamp":1671395004455}},"pad:accidental-tech:revs:8418":{"changeset":"Z:ho0>3|e=2os=4y*13+3$up.","meta":{"author":"a.ERPqZS7yHknYSYTK","timestamp":1671395004953}},"pad:accidental-tech:revs:8419":{"changeset":"Z:ho3>1|e=2os=51*13+1$ ","meta":{"author":"a.ERPqZS7yHknYSYTK","timestamp":1671395005455}},"pad:accidental-tech:revs:8420":{"changeset":"Z:ho4<6|3=1z=5u-6$","meta":{"author":"a.ERPqZS7yHknYSYTK","timestamp":1671437019934}},"pad:accidental-tech:revs:8421":{"changeset":"Z:hny>1|3=1z=5u*13+1$ ","meta":{"author":"a.ERPqZS7yHknYSYTK","timestamp":1671437020435}},"pad:accidental-tech:revs:8422":{"changeset":"Z:hnz<34s|2=1d|k-2x8-7k$","meta":{"author":"a.ERPqZS7yHknYSYTK","timestamp":1671437485111}},"pad:accidental-tech:revs:8423":{"changeset":"Z:ej7>34j|21=6lk-8*13*17*j+l*13|3+g1*13*1*4*3+1*13*i+32*13|1+1*13*1*4*3+1*13*i+6*13|1+1*13*1*4*3+1*13*i+7u*13|f+25e*13+7k$2022 December 易-notes\nrelation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n\nThe temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n\n\n\n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\nCoincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?","meta":{"author":"a.ERPqZS7yHknYSYTK","timestamp":1671437495534}},"pad:accidental-tech:revs:8424":{"changeset":"Z:hnq>i|21=6lk*13*1*2*3+1|1=m*13*1*2*3+1|1=fz*13*1*2*3+1|1=1*5=1|1=33*5=1|1=7*5=1|1=7v*13*1*2*3+1|1=3w*13*1*2*3+1|1=1*13*1*2*3+1|1=ol*13*1*2*3+1|1=1*13*1*2*3+1|1=12v*13*1*2*3+1|1=1*13*1*2*3+1|1=53*13*1*2*3+1|1=1*13*1*2*3+1|1=1*13*1*2*3+1|1=1*13*1*2*3+1|1=1*13*1*2*3+1|1=4p*13*1*2*3+1|1=1*13*1*2*3+1|1=1*13*1*2*3+1$******************","meta":{"author":"a.ERPqZS7yHknYSYTK","timestamp":1671437504451}},"pad:accidental-tech:revs:8425":{"changeset":"Z:ho8>0|21=6lk*4=1|1=m*4=1|1=fz*4=1|1=1*a=1|1=33*a=1|1=7*a=1|1=7v*4=1|1=3w*4=1|1=1*4=1|1=ol*4=1|1=1*4=1|1=12v*4=1|1=1*4=1|1=53*4=1|1=1*4=1|1=1*4=1|1=1*4=1|1=1*4=1|1=4p*4=1|1=1*4=1|1=1*4=1$","meta":{"author":"a.ERPqZS7yHknYSYTK","timestamp":1671437505454}},"pad:accidental-tech:revs:8426":{"changeset":"Z:ho8>0|21=6lk*5=1|1=m*5=1|1=fz*5=1|1=1*b=1|1=33*b=1|1=7*b=1|1=7v*5=1|1=3w*5=1|1=1*5=1|1=ol*5=1|1=1*5=1|1=12v*5=1|1=1*5=1|1=53*5=1|1=1*5=1|1=1*5=1|1=1*5=1|1=1*5=1|1=4p*5=1|1=1*5=1|1=1*5=1$","meta":{"author":"a.ERPqZS7yHknYSYTK","timestamp":1671437506255}},"pad:accidental-tech:revs:8427":{"changeset":"Z:ho8>1|1x=6fe*18*13*1*3+1$*","meta":{"author":"a.ERPqZS7yHknYSYTK","timestamp":1671437514169}},"pad:accidental-tech:revs:8428":{"changeset":"Z:ho9>0|1x=6fe*18=1$","meta":{"author":"a.ERPqZS7yHknYSYTK","timestamp":1671437516976}},"pad:accidental-tech:revs:8429":{"changeset":"Z:ho9<359|21=6ll|k-2xo-7l$","meta":{"author":"a.ERPqZS7yHknYSYTK","timestamp":1671437534311}},"pad:accidental-tech:revs:8430":{"changeset":"Z:ej0>33q|1x=6fe-1j*13*1*5*3+1*13*17*j+l*13|1+1*13*1*5*3+1*13|1+fz*13*1*5*3+1*13|1+1*13*1*b*3+1*13*i+32*13|1+1*13*1*b*3+1*13*i+6*13|1+1*13*1*b*3+1*13*i+7u*13|1+1*13*1*5*3+1*13|1+3w*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+ol*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+12v*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+53*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+4p*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13+7k$*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?","meta":{"author":"a.ERPqZS7yHknYSYTK","timestamp":1671437537621}},"pad:accidental-tech:revs:8431":{"changeset":"Z:hmq>1|2j=9kp*13|1+1$\n","meta":{"author":"a.ERPqZS7yHknYSYTK","timestamp":1671437544936}},"pad:accidental-tech:revs:8432":{"changeset":"Z:hmr>1|2k=9kq*13|1+1$\n","meta":{"author":"a.ERPqZS7yHknYSYTK","timestamp":1671437545437}},"pad:accidental-tech:revs:8433":{"changeset":"Z:hms>1|6=26=18*19|1+1$\n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1671984215365}},"pad:accidental-tech:revs:8434":{"changeset":"Z:hmt>3|7=3f*19|3+3$\n\n\n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1671984215841}},"pad:accidental-tech:revs:8435":{"changeset":"Z:hmw>2|a=3i*19|2+2$\n\n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1671984216341}},"pad:accidental-tech:revs:8436":{"changeset":"Z:hmy>bt3|8=3g*19|20+bof*19+4o$# art and accidental technology\n\n## speculative prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n\n> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art, which was later called (based on a coinage by fellow Fluxus artist Robert Filliou) \"The Eternal Network\" and in effect anticipated online social networking in the medium of postal mail.^[(Baroni)] From today's perspective, the \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nIn this lens, the (relative) autonomy of art, or its (still limited) license to be speculative and experimental, permits it to develop the most advanced prototypes of what one day might become mainstream technology. This capitalist-realist scenario would also answer the relation between accident and technology: that, in the optimal case, those accidents should happen in art where they have the highest social acceptance for speculative work and thinking.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n### lens 3: aestheticized technology\n\nHowever, the example of TikTok (and Instagram before it) shows how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n\n## romanticism revisited\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis). The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consid\neration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatis prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art, which was later called (based on a coinage by fellow Fluxus artist Robert Filliou) \"The Eternal Network\" and in effect anticipated online social networking in the medium of postal mail.^[(Baroni)] From today's perspective, the \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nIn this lens, the (relative) autonomy of art, or its (still limited) license to be speculative and experimental, permits it to develop the most advanced prototypes of what one day might become mainstream technology. This capitalist-realist scenario would also answer the relation between accident and technology: that, in the optimal case, those accidents should happen in art where they have the highest social acceptance for speculative work and thinking.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: aestheticized technology\n\nHowever, the example of TikTok (and Instagram before it) shows how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n\n*## romanticism revisited\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis). The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consid\neration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and nonkrong in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how Situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n* Here's the official invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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prototyped in the arts include tile mosaics as preemptions of pixel graphics (including the Bayer filter technology used for digital photo- and videography); the invention of wireless frequency hopping, modelled after player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 to support the U.S. Army in the Second World War; the proposal of electronic libraries in El Lissitzky's 1926 manifesto \"Our Book\"; the preemption of AI text prompt image generators in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms; the origins of the (vacation rental platorm) Airbnb as a social design project by design students; the anticipation of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s and of Internet memes in John Heartfield's and Barbara Kruger's visual 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art, which was later called (based on a coinage by fellow Fluxus artist Robert Filliou) \"The Eternal Network\" and in effect anticipated online social networking in the medium of postal mail.^[(Baroni)] From today's perspective, the \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in the arts include tile mosaics as preemptions of pixel graphics (including the Bayer filter technology used for digital photo- and videography); the invention of wireless frequency hopping, modelled after player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 to support the U.S. Army in the Second World War; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the preemption of AI text prompt image generators in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms; the origins of the (vacation rental platorm) Airbnb as a social design project by design students; the anticipation of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s and of Internet memes in John Heartfield's and Barbara Kruger's visual works.\n\nIn this lens, the (relative) autonomy of art, or its (still limited) license to be speculative and experimental, permits it to develop the most advanced prototypes of what one day might become mainstream technology. This capitalist-realist scenario would also answer the relation between accident and technology: that, in the optimal case, those accidents should happen in art where they have the highest social acceptance for speculative work and thinking.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: aestheticized technology\n\nHowever, the example of TikTok (and Instagram before it) shows how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n\n*### lens 4: productivity and repetition\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and nonkrong in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how Situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|8+1ks*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|a+1i1*19+cc*19*i+8*19|7+19d*19*1b*1*3+1*19|8+y7*19*1a*1*3+1*19|6+1yy*19+f9*19*i+6*19|2+4n*19+5w*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*y*1*3+1*19|1+1b*0|2+2*t|3+j7*t+g*0|2+1k*0*1*5*3+1*0+3+1s*0|1+3+4*0+h+11*0+1a*n|1+2*n*1*d*3+1*n+7i*0|1+1*0*1*e*3+1*0+18+4*0|1+1*0*1*e*3+1+3*0|1+10*0*1*e*3+1*0|1+1c*0*1*e*3+1*0+z*n|1+1*n*1*e*3+1*0|2+2*0+a*n|2+2r*t*1*f*3*g+1*n+20*t+27*n|1+1*t*1*f*3*h+1*n|1+50*t*1*f*3*k+1*n|1+3q*t*1*f*3*l+1*n|1+5t*t*1*f*3*u+1*n|1+1s*t*1*f*3*v+1*n|1+90*t*1*f*3*w+1*n|3+9f*13*1*f*3*g+1*n|1+q*t*1*f*3*h+1*n+6*13+1*n|1+p*t*1*f*3*k+1*n|1+12*t*1*f*3*l+1*n|1+1e*t*1*f*3*u+1*n|1+v*t*1*f*3*v+1*n|1+2c*t*1*f*3*w+1*n|1+q*t*1*f*3*x+1*n+57*13|1+1*t|2+u*t*1*f*3*g+1*t|1+5y*t*1*f*3*h+1*t|7+k5*t*1*f*3*g+1*t|1+et*t*1*f*3*h+1*t+ee*t*i+8*t+6g*13+1*t+3f*n|2+6*0|2+2m*n+6i*t|2+2*t*1*f*3*g+1*t|1+2l*t*1*f*3*h+1*t|1+78*t*1*f*3*k+1*t+3j*t*i+8*t+23*t*i+l*t+2p*t*i+l*t|1+33*t*1*f*3*l+1*t|1+8c*t*1*f*3*u+1*t|1+6i*t*1*f*3*v+1*t+3m*t*i+4*t+c9*n|4+1j*0+2x*n|2+2*13*1*5*3+1*13*17*j+l*13|1+1*13*1*5*3+1*13|1+fz*13*1*5*3+1*13|1+1*13*1*b*3+1*13*i+32*13|1+1*13*1*b*3+1*13*i+6*13|1+1*13*1*b*3+1*13*i+7u*13|1+1*13*1*5*3+1*13|1+3w*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+ol*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+12v*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+53*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+4p*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13+7k*n|1+1*0|1+1*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+g4*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:8601":{"changeset":"Z:ua7<1|12=3l7=eu-1$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1671992179444}},"pad:accidental-tech:revs:8602":{"changeset":"Z:ua6>1|12=3l7=eu*19+1$*","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1671992180247}},"pad:accidental-tech:revs:8603":{"changeset":"Z:ua7>0|12=3l7=fd-1*19+1$*","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1671992182655}},"pad:accidental-tech:revs:8604":{"changeset":"Z:ua7>0|12=3l7=ev*i=i$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1671992185059}},"pad:accidental-tech:revs:8605":{"changeset":"Z:ua7<7|12=3l7=fs-8*19+1$e","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1671992187368}},"pad:accidental-tech:revs:8606":{"changeset":"Z:ua0>3|12=3l7=ft*19+3$nta","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1671992187968}},"pad:accidental-tech:revs:8607":{"changeset":"Z:ua3>4|12=3l7=fw*19+4$iled","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1671992188470}},"pad:accidental-tech:revs:8608":{"changeset":"Z:ua7<4|12=3l7=go-4$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1671992202899}},"pad:accidental-tech:revs:8609":{"changeset":"Z:ua3>1|12=3l7=j9*19+1$f","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1671992210818}},"pad:accidental-tech:revs:8610":{"changeset":"Z:ua4>1|12=3l7=kd*19+1$c","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1671992229551}},"pad:accidental-tech:revs:8611":{"changeset":"Z:ua5>3|12=3l7=ke*19+3$rea","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1671992230050}},"pad:accidental-tech:revs:8612":{"changeset":"Z:ua8>4|12=3l7=kh*19+4$ted 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art grew into a global communication system that, based on a coinage by the Fluxus artist Robert Filliou, r\"The Eternal Network\" and in effect anticipated online social networking in the medium of postal mail.^[(Baroni)] -> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\n\n\n\nFrom today's perspective, the \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of Internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: aestheticized technology\n\nHowever, the example of TikTok (and Instagram before it) shows how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n\n*### lens 4: productivity and repetition\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and nonkrong in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how Situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|8+1ks*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|k+30h*19*1b*1*3+1*19|8+y7*19*1a*1*3+1*19|6+1yy*19+f9*19*i+6*19|2+4n*19+5w*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*y*1*3+1*19|1+1b*0|2+2*t|3+j7*t+g*0|2+1k*0*1*5*3+1*0+3+1s*0|1+3+4*0+h+11*0+1a*n|1+2*n*1*d*3+1*n+7i*0|1+1*0*1*e*3+1*0+18+4*0|1+1*0*1*e*3+1+3*0|1+10*0*1*e*3+1*0|1+1c*0*1*e*3+1*0+z*n|1+1*n*1*e*3+1*0|2+2*0+a*n|2+2r*t*1*f*3*g+1*n+20*t+27*n|1+1*t*1*f*3*h+1*n|1+50*t*1*f*3*k+1*n|1+3q*t*1*f*3*l+1*n|1+5t*t*1*f*3*u+1*n|1+1s*t*1*f*3*v+1*n|1+90*t*1*f*3*w+1*n|3+9f*13*1*f*3*g+1*n|1+q*t*1*f*3*h+1*n+6*13+1*n|1+p*t*1*f*3*k+1*n|1+12*t*1*f*3*l+1*n|1+1e*t*1*f*3*u+1*n|1+v*t*1*f*3*v+1*n|1+2c*t*1*f*3*w+1*n|1+q*t*1*f*3*x+1*n+57*13|1+1*t|2+u*t*1*f*3*g+1*t|1+5y*t*1*f*3*h+1*t|7+k5*t*1*f*3*g+1*t|1+et*t*1*f*3*h+1*t+ee*t*i+8*t+6g*13+1*t+3f*n|2+6*0|2+2m*n+6i*t|2+2*t*1*f*3*g+1*t|1+2l*t*1*f*3*h+1*t|1+78*t*1*f*3*k+1*t+3j*t*i+8*t+23*t*i+l*t+2p*t*i+l*t|1+33*t*1*f*3*l+1*t|1+8c*t*1*f*3*u+1*t|1+6i*t*1*f*3*v+1*t+3m*t*i+4*t+c9*n|4+1j*0+2x*n|2+2*13*1*5*3+1*13*17*j+l*13|1+1*13*1*5*3+1*13|1+fz*13*1*5*3+1*13|1+1*13*1*b*3+1*13*i+32*13|1+1*13*1*b*3+1*13*i+6*13|1+1*13*1*b*3+1*13*i+7u*13|1+1*13*1*5*3+1*13|1+3w*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+ol*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+12v*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+53*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+4p*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13+7k*n|1+1*0|1+1*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+g4*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:8701":{"changeset":"Z:u6q>3|w=2b0=5x*19+3$efe","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672000653053}},"pad:accidental-tech:revs:8702":{"changeset":"Z:u6t>3|w=2b0=60*19+3$rre","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672000653553}},"pad:accidental-tech:revs:8703":{"changeset":"Z:u6w>2|w=2b0=63*19+2$d 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art grew into a global communication system that, based on a coinage by the Fluxus artist Robert Filliou, referred to itself as \"The Eternal Network\". The degree to which it preempted, in the medium of postal mail, Internet social networking in the medium of postal mail becomes clear from a 1983 diagram of the Italian Mail Artist Vittore Baroni which factually amounts to a peer-to-peer network architectuhttps://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\n\n\n\nFrom today's perspective, the \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of Internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: aestheticized technology\n\nHowever, the example of TikTok (and Instagram before it) shows how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n\n*### lens 4: productivity and repetition\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and nonkrong in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how Situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|8+1ks*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|k+315*19*1b*1*3+1*19|8+y7*19*1a*1*3+1*19|6+1yy*19+f9*19*i+6*19|2+4n*19+5w*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*y*1*3+1*19|1+1b*0|2+2*t|3+j7*t+g*0|2+1k*0*1*5*3+1*0+3+1s*0|1+3+4*0+h+11*0+1a*n|1+2*n*1*d*3+1*n+7i*0|1+1*0*1*e*3+1*0+18+4*0|1+1*0*1*e*3+1+3*0|1+10*0*1*e*3+1*0|1+1c*0*1*e*3+1*0+z*n|1+1*n*1*e*3+1*0|2+2*0+a*n|2+2r*t*1*f*3*g+1*n+20*t+27*n|1+1*t*1*f*3*h+1*n|1+50*t*1*f*3*k+1*n|1+3q*t*1*f*3*l+1*n|1+5t*t*1*f*3*u+1*n|1+1s*t*1*f*3*v+1*n|1+90*t*1*f*3*w+1*n|3+9f*13*1*f*3*g+1*n|1+q*t*1*f*3*h+1*n+6*13+1*n|1+p*t*1*f*3*k+1*n|1+12*t*1*f*3*l+1*n|1+1e*t*1*f*3*u+1*n|1+v*t*1*f*3*v+1*n|1+2c*t*1*f*3*w+1*n|1+q*t*1*f*3*x+1*n+57*13|1+1*t|2+u*t*1*f*3*g+1*t|1+5y*t*1*f*3*h+1*t|7+k5*t*1*f*3*g+1*t|1+et*t*1*f*3*h+1*t+ee*t*i+8*t+6g*13+1*t+3f*n|2+6*0|2+2m*n+6i*t|2+2*t*1*f*3*g+1*t|1+2l*t*1*f*3*h+1*t|1+78*t*1*f*3*k+1*t+3j*t*i+8*t+23*t*i+l*t+2p*t*i+l*t|1+33*t*1*f*3*l+1*t|1+8c*t*1*f*3*u+1*t|1+6i*t*1*f*3*v+1*t+3m*t*i+4*t+c9*n|4+1j*0+2x*n|2+2*13*1*5*3+1*13*17*j+l*13|1+1*13*1*5*3+1*13|1+fz*13*1*5*3+1*13|1+1*13*1*b*3+1*13*i+32*13|1+1*13*1*b*3+1*13*i+6*13|1+1*13*1*b*3+1*13*i+7u*13|1+1*13*1*5*3+1*13|1+3w*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+ol*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+12v*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+53*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+4p*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13+7k*n|1+1*0|1+1*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+g4*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:8801":{"changeset":"Z:u7e>3|w=2b0=e9*19+3$re ","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672000746985}},"pad:accidental-tech:revs:8802":{"changeset":"Z:u7h>1|w=2b0=ec*19+1$d","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672000747683}},"pad:accidental-tech:revs:8803":{"changeset":"Z:u7i>3|w=2b0=ed*19+3$iag","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672000748184}},"pad:accidental-tech:revs:8804":{"changeset":"Z:u7l>3|w=2b0=eg*19+3$ram","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672000748683}},"pad:accidental-tech:revs:8805":{"changeset":"Z:u7o>1|w=2b0=ej*19+1$:","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672000749184}},"pad:accidental-tech:revs:8806":{"changeset":"Z:u7p>5|w=2b0=ek*19|1+1*19+4$\n ","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672000750286}},"pad:accidental-tech:revs:8807":{"changeset":"Z:u7u>5|w=2b0=ek*19|1+1*19+4$\n ","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672000917936}},"pad:accidental-tech:revs:8808":{"changeset":"Z:u7z>5|x=2pl=4*19|1+1*19+4$\n ","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672000918438}},"pad:accidental-tech:revs:8809":{"changeset":"Z:u84>bs|y=2pq=4*19+bs$In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was o]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, the \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of Internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: aestheticized technology\n\nHowever, the example of TikTok (and Instagram before it) shows how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n\n*### lens 4: productivity and repetition\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\nexamples of art as accidental technological inventions through artists/as part of artist projects\n*tile mosaics and abstract painting as invention of raster/pixel graphics [including the Bayer filter technology of digital photography and videography]\n*invention of wireless frequency hopping technology, modelled on player pianos, through actress Hedy Lamarr and composer George Antheil in 1941 (as support of the US army in WW II)\n*invention/preempetion of electronic libraries by El Lissitzky in the 1920s (manifesto \"Our book\" published in Kurt Schwitters' MERZ) \n*preemption of AI model-based text prompt image generation in Cornelia Sollfrank's 1999 \"net.art generators\", a work that included complex reflections of the authorship and copyright implications of algorithms\n*origins of Airbnb as a social design project by design students\n*preemption/anticipation of today's social media video platforms (YouTube, TikTok) in video art projects such as Infermental (1980s), Van Gogh TV (documenta IX 1992), One Minutes, of Instagram self-fashioning in Cindy Sherman's self-portraits, of Internet memes in John Heartfield's and Barbara Kruger's visual work etc.etc.\n*social networking in the \"New York Correspondance School\" founded by Ray Johnson in 1962; networked/remote publishing by Mieko Shiomi's \"Spatial Poem\" in 1965\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*Art practices can also promote simple activities to technologies by practicing (and elaborating) them as work methods: examples include the Dadaists who developed the cutting-and-pasting of newspaper cut-outs in Swiss folk art into collage and photomontage, and the subsequent technologies and industries centered around photomontage - from newspaper illustration to its modelling in software from Photoshop to Dall-E -, the \"event\" in Fluxus (which could arguably seen as a prototype of today's event industry) and nonkrong in Indonesian art collectives and documenta fifteen. In such cases, art often serves as a bridge or interface for these activities to being further developed into business models, technologies and industries. A good example is how Situationist psychogeography and its transformation into \"cultural probes\" and service design as an industry and technology.\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n-> focus on New York Correspondance School and its outliers in the 1970s/80s (General Idea's FILE etc. up to Vittore Baroni's 1983 \"Real Correspondence\" diagram, https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|8+1ks*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3bc*19*1b*1*3+1*19|8+y7*19*1a*1*3+1*19|6+1yy*19+f9*19*i+6*19|2+4n*19+5w*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*y*1*3+1*19|1+1b*0|2+2*t|3+j7*t+g*0|2+1k*0*1*5*3+1*0+3+1s*0|1+3+4*0+h+11*0+1a*n|1+2*n*1*d*3+1*n+7i*0|1+1*0*1*e*3+1*0+18+4*0|1+1*0*1*e*3+1+3*0|1+10*0*1*e*3+1*0|1+1c*0*1*e*3+1*0+z*n|1+1*n*1*e*3+1*0|2+2*0+a*n|2+2r*t*1*f*3*g+1*n+20*t+27*n|1+1*t*1*f*3*h+1*n|1+50*t*1*f*3*k+1*n|1+3q*t*1*f*3*l+1*n|1+5t*t*1*f*3*u+1*n|1+1s*t*1*f*3*v+1*n|1+90*t*1*f*3*w+1*n|3+9f*13*1*f*3*g+1*n|1+q*t*1*f*3*h+1*n+6*13+1*n|1+p*t*1*f*3*k+1*n|1+12*t*1*f*3*l+1*n|1+1e*t*1*f*3*u+1*n|1+v*t*1*f*3*v+1*n|1+2c*t*1*f*3*w+1*n|1+q*t*1*f*3*x+1*n+57*13|1+1*t|2+u*t*1*f*3*g+1*t|1+5y*t*1*f*3*h+1*t|7+k5*t*1*f*3*g+1*t|1+et*t*1*f*3*h+1*t+ee*t*i+8*t+6g*13+1*t+3f*n|2+6*0|2+2m*n+6i*t|2+2*t*1*f*3*g+1*t|1+2l*t*1*f*3*h+1*t|1+78*t*1*f*3*k+1*t+3j*t*i+8*t+23*t*i+l*t+2p*t*i+l*t|1+33*t*1*f*3*l+1*t|1+8c*t*1*f*3*u+1*t|1+6i*t*1*f*3*v+1*t+3m*t*i+4*t+c9*n|4+1j*0+2x*n|2+2*13*1*5*3+1*13*17*j+l*13|1+1*13*1*5*3+1*13|1+fz*13*1*5*3+1*13|1+1*13*1*b*3+1*13*i+32*13|1+1*13*1*b*3+1*13*i+6*13|1+1*13*1*b*3+1*13*i+7u*13|1+1*13*1*5*3+1*13|1+3w*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+ol*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+12v*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+53*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+4p*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13+7k*n|1+1*0|1+1*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+g4*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:8901":{"changeset":"Z:uhl<1|z=2rf=46-1$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672001268015}},"pad:accidental-tech:revs:8902":{"changeset":"Z:uhk>4|z=2rf=46*19+4$impo","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672001268516}},"pad:accidental-tech:revs:8903":{"changeset":"Z:uho>4|z=2rf=4a*19+4$ssib","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672001269019}},"pad:accidental-tech:revs:8904":{"changeset":"Z:uhs>6|z=2rf=4e*19+6$le 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of Internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### digression: accidental scientific and technological invention\n\n\n * x-rays by Wilhelm Röntgen\n * pennicilin by Alexander Fleming\n * vulcanized rubber by Charles Goodyear\n * microwaves as heating technology by Percy Spencer\n * pacemaker by Wilson Greatbatch\n * Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n * safety pin by Walter Hunt\n * Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nSeeming difference to art: m\n\n*### lens 3: aestheticized technology\n\nThe example of TikTok (and Instagram before it) shows how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n\n*### lens 4: productivity and repetition\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\n\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|8+1ks*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|e+hy*19*1b*1*3+1*19|8+xy*19*1a*1*3+1*19|6+1yy*19+f9*19*i+6*19|2+4n*19+5w*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*y*1*3+1*19|1+1b*0|2+2*t|3+j7*t+g*0|2+1k*0*1*5*3+1*0+3+1s*0|1+3+4*0+h+11*0+1a*n|1+2*n*1*d*3+1*n+7i*0|1+1*0*1*e*3+1*0+18+4*0|1+1*0*1*e*3+1+3*0|1+10*0*1*e*3+1*0|1+1c*0*1*e*3+1*0+z*n|1+1*n*1*e*3+1*0|2+2*0+a*n|4+52*13*1*f*3*g+1*n|1+q*t*1*f*3*h+1*n+6*13+1*n|1+p*t*1*f*3*k+1*n|1+12*t*1*f*3*l+1*n|1+1e*t*1*f*3*u+1*n|1+v*t*1*f*3*v+1*n|1+2c*t*1*f*3*w+1*n|1+q*t*1*f*3*x+1*n+57*13|1+1*t|2+u*t*1*f*3*g+1*t|1+5y*t*1*f*3*h+1*t|7+k5*t*1*f*3*g+1*t|1+et*t*1*f*3*h+1*n|2+6*0|2+2m*t|1+1*t*1*f*3*g+1*t|1+2l*t*1*f*3*h+1*t|1+78*t*1*f*3*k+1*t+3j*t*i+8*t+23*t*i+l*t+2p*t*i+l*t|1+33*t*1*f*3*l+1*t|1+8c*t*1*f*3*u+1*t|1+6i*t*1*f*3*v+1*t+3m*t*i+4*t+c9*n|4+1j*0+2x*n|2+2*13*1*5*3+1*13*17*j+l*13|1+1*13*1*5*3+1*13|1+fz*13*1*5*3+1*13|1+1*13*1*b*3+1*13*i+32*13|1+1*13*1*b*3+1*13*i+6*13|1+1*13*1*b*3+1*13*i+7u*13|1+1*13*1*5*3+1*13|1+3w*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+ol*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+12v*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+53*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+4p*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13+7k*n|1+1*0|1+1*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+g4*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:9001":{"changeset":"Z:t4q>3|1q=5wx=s*19+3$ean","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672001845265}},"pad:accidental-tech:revs:9002":{"changeset":"Z:t4t>5|1q=5wx=v*19+5$t 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of Internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### digression: accidental scientific and technological invention\n\n\n * x-rays by Wilhelm Röntgen\n * pennicilin by Alexander Fleming\n * vulcanized rubber by Charles Goodyear\n * microwaves as heating technology by Percy Spencer\n * pacemaker by Wilson Greatbatch\n * Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n * safety pin by Walter Hunt\n * Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nSeeming difference to art: meant as a scientific discovery or technological invention, just ended up in a different domain than originally intended. In the arts, however, one would assume that poetic inventions that accidentally become technological v\n\n*### lens 3: aestheticized technology\n\nThe example of TikTok (and Instagram before it) shows how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n\n*### lens 4: productivity and repetition\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\n\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|8+1ks*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|e+o5*19*1b*1*3+1*19|8+xy*19*1a*1*3+1*19|6+1yy*19+f9*19*i+6*19|2+4n*19+5w*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*y*1*3+1*19|1+1b*0|2+2*t|3+j7*t+g*0|2+1k*0*1*5*3+1*0+3+1s*0|1+3+4*0+h+11*0+1a*n|1+2*n*1*d*3+1*n+7i*0|1+1*0*1*e*3+1*0+18+4*0|1+1*0*1*e*3+1+3*0|1+10*0*1*e*3+1*0|1+1c*0*1*e*3+1*0+z*n|1+1*n*1*e*3+1*0|2+2*0+a*n|4+52*13*1*f*3*g+1*n|1+q*t*1*f*3*h+1*n+6*13+1*n|1+p*t*1*f*3*k+1*n|1+12*t*1*f*3*l+1*n|1+1e*t*1*f*3*u+1*n|1+v*t*1*f*3*v+1*n|1+2c*t*1*f*3*w+1*n|1+q*t*1*f*3*x+1*n+57*13|1+1*t|2+u*t*1*f*3*g+1*t|1+5y*t*1*f*3*h+1*t|7+k5*t*1*f*3*g+1*t|1+et*t*1*f*3*h+1*n|2+6*0|2+2m*t|1+1*t*1*f*3*g+1*t|1+2l*t*1*f*3*h+1*t|1+78*t*1*f*3*k+1*t+3j*t*i+8*t+23*t*i+l*t+2p*t*i+l*t|1+33*t*1*f*3*l+1*t|1+8c*t*1*f*3*u+1*t|1+6i*t*1*f*3*v+1*t+3m*t*i+4*t+c9*n|4+1j*0+2x*n|2+2*13*1*5*3+1*13*17*j+l*13|1+1*13*1*5*3+1*13|1+fz*13*1*5*3+1*13|1+1*13*1*b*3+1*13*i+32*13|1+1*13*1*b*3+1*13*i+6*13|1+1*13*1*b*3+1*13*i+7u*13|1+1*13*1*5*3+1*13|1+3w*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+ol*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+12v*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+53*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+4p*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13+7k*n|1+1*0|1+1*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+g4*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:9101":{"changeset":"Z:tax>5|1q=5wx=6z*19+5$ision","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672001918253}},"pad:accidental-tech:revs:9102":{"changeset":"Z:tb2>4|1q=5wx=74*19+4$s 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of Internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### digression: accidental scientific and technological invention\n\n\n * x-rays by Wilhelm Röntgen\n * pennicilin by Alexander Fleming\n * vulcanized rubber by Charles Goodyear\n * microwaves as heating technology by Percy Spencer\n * pacemaker by Wilson Greatbatch\n * Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n * safety pin by Walter Hunt\n * Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nSeeming difference to art: meant as a scientific discovery or technological invention, just ended up in a different domain than originally intended. In the arts, however, one would assume that poetic inventions that accidentally became technological foreshadowing - from Lissitzky's electron library to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally only meant to be\n\n*### lens 3: aestheticized technology\n\nThe example of TikTok (and Instagram before it) shows how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n\n*### lens 4: productivity and repetition\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\n\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|8+1ks*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|e+s7*19*1b*1*3+1*19|8+xy*19*1a*1*3+1*19|6+1yy*19+f9*19*i+6*19|2+4n*19+5w*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*y*1*3+1*19|1+1b*0|2+2*t|3+j7*t+g*0|2+1k*0*1*5*3+1*0+3+1s*0|1+3+4*0+h+11*0+1a*n|1+2*n*1*d*3+1*n+7i*0|1+1*0*1*e*3+1*0+18+4*0|1+1*0*1*e*3+1+3*0|1+10*0*1*e*3+1*0|1+1c*0*1*e*3+1*0+z*n|1+1*n*1*e*3+1*0|2+2*0+a*n|4+52*13*1*f*3*g+1*n|1+q*t*1*f*3*h+1*n+6*13+1*n|1+p*t*1*f*3*k+1*n|1+12*t*1*f*3*l+1*n|1+1e*t*1*f*3*u+1*n|1+v*t*1*f*3*v+1*n|1+2c*t*1*f*3*w+1*n|1+q*t*1*f*3*x+1*n+57*13|1+1*t|2+u*t*1*f*3*g+1*t|1+5y*t*1*f*3*h+1*t|7+k5*t*1*f*3*g+1*t|1+et*t*1*f*3*h+1*n|2+6*0|2+2m*t|1+1*t*1*f*3*g+1*t|1+2l*t*1*f*3*h+1*t|1+78*t*1*f*3*k+1*t+3j*t*i+8*t+23*t*i+l*t+2p*t*i+l*t|1+33*t*1*f*3*l+1*t|1+8c*t*1*f*3*u+1*t|1+6i*t*1*f*3*v+1*t+3m*t*i+4*t+c9*n|4+1j*0+2x*n|2+2*13*1*5*3+1*13*17*j+l*13|1+1*13*1*5*3+1*13|1+fz*13*1*5*3+1*13|1+1*13*1*b*3+1*13*i+32*13|1+1*13*1*b*3+1*13*i+6*13|1+1*13*1*b*3+1*13*i+7u*13|1+1*13*1*5*3+1*13|1+3w*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+ol*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+12v*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+53*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+4p*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13+7k*n|1+1*0|1+1*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+g4*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:9201":{"changeset":"Z:tez>1|1q=5wx=b1*19+1$ 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of Internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### digression: accidental scientific and technological invention\n\n\n * x-rays by Wilhelm Röntgen\n * pennicilin by Alexander Fleming\n * vulcanized rubber by Charles Goodyear\n * microwaves as heating technology by Percy Spencer\n * pacemaker by Wilson Greatbatch\n * Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n * safety pin by Walter Hunt\n * Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nSeeming difference to art: meant as a scientific discovery or technological invention, just ended up in a different domain than originally intended. In the arts, however, one would assume that poetic inventions that became technological visions - from Lissitzky's electron library to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally meant to be 'only' art projects, and accidentally prototyped technologies. However, this assumption only works if one limits arts to the poetic and aesthetic, and ignores that (especially in all the quoted example\n\n*### lens 3: aestheticized technology\n\nThe example of TikTok (and Instagram before it) shows how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n\n*### lens 4: productivity and repetition\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\n\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|8+1ks*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|e+x5*19*1b*1*3+1*19|8+xy*19*1a*1*3+1*19|6+1yy*19+f9*19*i+6*19|2+4n*19+5w*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*y*1*3+1*19|1+1b*0|2+2*t|3+j7*t+g*0|2+1k*0*1*5*3+1*0+3+1s*0|1+3+4*0+h+11*0+1a*n|1+2*n*1*d*3+1*n+7i*0|1+1*0*1*e*3+1*0+18+4*0|1+1*0*1*e*3+1+3*0|1+10*0*1*e*3+1*0|1+1c*0*1*e*3+1*0+z*n|1+1*n*1*e*3+1*0|2+2*0+a*n|4+52*13*1*f*3*g+1*n|1+q*t*1*f*3*h+1*n+6*13+1*n|1+p*t*1*f*3*k+1*n|1+12*t*1*f*3*l+1*n|1+1e*t*1*f*3*u+1*n|1+v*t*1*f*3*v+1*n|1+2c*t*1*f*3*w+1*n|1+q*t*1*f*3*x+1*n+57*13|1+1*t|2+u*t*1*f*3*g+1*t|1+5y*t*1*f*3*h+1*t|7+k5*t*1*f*3*g+1*t|1+et*t*1*f*3*h+1*n|2+6*0|2+2m*t|1+1*t*1*f*3*g+1*t|1+2l*t*1*f*3*h+1*t|1+78*t*1*f*3*k+1*t+3j*t*i+8*t+23*t*i+l*t+2p*t*i+l*t|1+33*t*1*f*3*l+1*t|1+8c*t*1*f*3*u+1*t|1+6i*t*1*f*3*v+1*t+3m*t*i+4*t+c9*n|4+1j*0+2x*n|2+2*13*1*5*3+1*13*17*j+l*13|1+1*13*1*5*3+1*13|1+fz*13*1*5*3+1*13|1+1*13*1*b*3+1*13*i+32*13|1+1*13*1*b*3+1*13*i+6*13|1+1*13*1*b*3+1*13*i+7u*13|1+1*13*1*5*3+1*13|1+3w*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+ol*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+12v*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+53*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+4p*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13+7k*n|1+1*0|1+1*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+g4*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:9301":{"changeset":"Z:tjx>2|1q=5wx=fz*19+2$s)","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672002175026}},"pad:accidental-tech:revs:9302":{"changeset":"Z:tjz>4|1q=5wx=g1*19+4$, 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of Internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### digression: accidental scientific and technological invention\n\n\n * x-rays by Wilhelm Röntgen\n * pennicilin by Alexander Fleming\n * vulcanized rubber by Charles Goodyear\n * microwaves as heating technology by Percy Spencer\n * pacemaker by Wilson Greatbatch\n * Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n * safety pin by Walter Hunt\n * Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nThere is even some overlap with Fluxus, since George Brecht, one of Fluxus earliest artist, worked in th\n\nSeeming difference to art: meant as a scientific discovery or technological invention, just ended up in a different domain than originally intended. In the arts, however, one would assume that poetic inventions that became technological visions - from Lissitzky's electron library to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally meant to be 'only' art projects, and accidentally prototyped technologies. However, this assumption only works if one limits arts to the poetic and aesthetic, and ignores that (especially in all the quoted examples), it also operates as real-life experimentation of living differently.\n\n*### lens 3: aestheticized technology\n\nThe example of TikTok (and Instagram before it) shows how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n\n*### lens 4: productivity and repetition\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\n\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of Internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### digression: accidental scientific and technological invention\n\n\n * x-rays by Wilhelm Röntgen\n * pennicilin by Alexander Fleming\n * vulcanized rubber by Charles Goodyear\n * microwaves as heating technology by Percy Spencer\n * pacemaker by Wilson Greatbatch\n * Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n * safety pin by Walter Hunt\n * Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nThere is even some overlap with Fluxus, since George Brecht, one of Fluxus' core artists, had worked as research chemist for Johnson & Johnson and held several patents for menstrual tampons.\n\nThe seeming difference between accidental discovery in enginscience art: meant as a scientific discovery or technological invention, just ended up in a different domain than originally intended. In the arts, however, one would assume that poetic inventions that became technological visions - from Lissitzky's electron library to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally meant to be 'only' art projects, and accidentally prototyped technologies. However, this assumption only works if one limits arts to the poetic and aesthetic, and ignores that (especially in all the quoted examples), it also operates as real-life experimentation of living differently.\n\n*### lens 3: aestheticized technology\n\nThe example of TikTok (and Instagram before it) shows how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n\n*### lens 4: productivity and repetition\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\n\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|8+1ks*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|g+15t*19*1b*1*3+1*19|8+xy*19*1a*1*3+1*19|6+1yy*19+f9*19*i+6*19|2+4n*19+5w*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*y*1*3+1*19|1+1b*0|2+2*t|3+j7*t+g*0|2+1k*0*1*5*3+1*0+3+1s*0|1+3+4*0+h+11*0+1a*n|1+2*n*1*d*3+1*n+7i*0|1+1*0*1*e*3+1*0+18+4*0|1+1*0*1*e*3+1+3*0|1+10*0*1*e*3+1*0|1+1c*0*1*e*3+1*0+z*n|1+1*n*1*e*3+1*0|2+2*0+a*n|4+52*13*1*f*3*g+1*n|1+q*t*1*f*3*h+1*n+6*13+1*n|1+p*t*1*f*3*k+1*n|1+12*t*1*f*3*l+1*n|1+1e*t*1*f*3*u+1*n|1+v*t*1*f*3*v+1*n|1+2c*t*1*f*3*w+1*n|1+q*t*1*f*3*x+1*n+57*13|1+1*t|2+u*t*1*f*3*g+1*t|1+5y*t*1*f*3*h+1*t|7+k5*t*1*f*3*g+1*t|1+et*t*1*f*3*h+1*n|2+6*0|2+2m*t|1+1*t*1*f*3*g+1*t|1+2l*t*1*f*3*h+1*t|1+78*t*1*f*3*k+1*t+3j*t*i+8*t+23*t*i+l*t+2p*t*i+l*t|1+33*t*1*f*3*l+1*t|1+8c*t*1*f*3*u+1*t|1+6i*t*1*f*3*v+1*t+3m*t*i+4*t+c9*n|4+1j*0+2x*n|2+2*13*1*5*3+1*13*17*j+l*13|1+1*13*1*5*3+1*13|1+fz*13*1*5*3+1*13|1+1*13*1*b*3+1*13*i+32*13|1+1*13*1*b*3+1*13*i+6*13|1+1*13*1*b*3+1*13*i+7u*13|1+1*13*1*5*3+1*13|1+3w*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+ol*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+12v*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+53*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+4p*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13+7k*n|1+1*0|1+1*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+g4*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:9501":{"changeset":"Z:tsl>2|1s=629=1o*19+2$ee","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672002433731}},"pad:accidental-tech:revs:9502":{"changeset":"Z:tsn>4|1s=629=1q*19+4$ring","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672002434232}},"pad:accidental-tech:revs:9503":{"changeset":"Z:tsr>5|1s=629=1u*19+5$ 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of Internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### digression: accidental scientific and technological invention\n\n\n * x-rays by Wilhelm Röntgen\n * pennicilin by Alexander Fleming\n * vulcanized rubber by Charles Goodyear\n * microwaves as heating technology by Percy Spencer\n * pacemaker by Wilson Greatbatch\n * Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n * safety pin by Walter Hunt\n * Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nThere is even some overlap with Fluxus, since George Brecht, one of Fluxus' core artists, had worked as research chemist for Johnson & Johnson and held several patents for menstrual tampons.\n\nWhat is characteristic for Accidental discovery in engineering and science seems to be that all the above examples had always been intended as technological inventions but just ended up having a different than the originally intended purpose. In the arts, however, one would assume that poetic inventions that became technological visions - from Lissitzky's electron library to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally meant to be 'only' art projects, and accidentally prototyped technologies. However, this assumption only works if one limits arts to the poetic and aesthetic, and ignores that (especially in all the quoted examples), it also operates as real-life experimentation of living differently.\n\n*### lens 3: aestheticized technology\n\nThe example of TikTok (and Instagram before it) shows how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n\n*### lens 4: productivity and repetition\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\n\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of Internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### digression: accidental scientific and technological invention\n\n\n * x-rays by Wilhelm Röntgen\n * pennicilin by Alexander Fleming\n * vulcanized rubber by Charles Goodyear\n * microwaves as heating technology by Percy Spencer\n * pacemaker by Wilson Greatbatch\n * Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n * safety pin by Walter Hunt\n * Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nThere is even some overlap with Fluxus, since George Brecht, one of Fluxus' core artists, had worked as research chemist for Johnson & Johnson and held several patents for menstrual tampons.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. They only ended up having different than the originally intended purposes and products. In the arts, however, one might assume that poetic inventions which happened to become technological visions - from Lissitzky's electron library to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally meant to be 'merely' art projects, and accidentally prototyped technologies. But this assumption only works if one limits the scope of the arts, ignoring that (especially in t examples), it also operates as real-life experimentation of living differently.\n\n*### lens 3: aestheticized technology\n\nThe example of TikTok (and Instagram before it) shows how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n\n*### lens 4: productivity and repetition\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\n\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of Internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### digression: accidental scientific and technological invention\n\n\n * x-rays by Wilhelm Röntgen\n * pennicilin by Alexander Fleming\n * vulcanized rubber by Charles Goodyear\n * microwaves as heating technology by Percy Spencer\n * pacemaker by Wilson Greatbatch\n * Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n * safety pin by Walter Hunt\n * Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nThere is even some overlap with Fluxus, since George Brecht, one of Fluxus' core artists, had worked as a research chemist for Johnson & Johnson and held several patents for menstrual tampons.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with other life practices. This ambition has only increased in contep \n\n*### lens 3: aestheticized technology\n\nConversely, the example of TikTok (and Instagram before it) shows how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n\n*### lens 4: productivity and repetition\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\n\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|8+1ks*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|g+195*19*1b*1*3+1*19|8+ya*19*1a*1*3+1*19|6+1yy*19+f9*19*i+6*19|2+4n*19+5w*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*y*1*3+1*19|1+1b*0|2+2*t|3+j7*t+g*0|2+1k*0*1*5*3+1*0+3+1s*0|1+3+4*0+h+11*0+1a*n|1+2*n*1*d*3+1*n+7i*0|1+1*0*1*e*3+1*0+18+4*0|1+1*0*1*e*3+1+3*0|1+10*0*1*e*3+1*0|1+1c*0*1*e*3+1*0+z*n|1+1*n*1*e*3+1*0|2+2*0+a*n|4+52*13*1*f*3*g+1*n|1+q*t*1*f*3*h+1*n+6*13+1*n|1+p*t*1*f*3*k+1*n|1+12*t*1*f*3*l+1*n|1+1e*t*1*f*3*u+1*n|1+v*t*1*f*3*v+1*n|1+2c*t*1*f*3*w+1*n|1+q*t*1*f*3*x+1*n+57*13|1+1*t|2+u*t*1*f*3*g+1*t|1+5y*t*1*f*3*h+1*t|7+k5*t*1*f*3*g+1*t|1+et*t*1*f*3*h+1*n|2+6*0|2+2m*t|1+1*t*1*f*3*g+1*t|1+2l*t*1*f*3*h+1*t|1+78*t*1*f*3*k+1*t+3j*t*i+8*t+23*t*i+l*t+2p*t*i+l*t|1+33*t*1*f*3*l+1*t|1+8c*t*1*f*3*u+1*t|1+6i*t*1*f*3*v+1*t+3m*t*i+4*t+c9*n|4+1j*0+2x*n|2+2*13*1*5*3+1*13*17*j+l*13|1+1*13*1*5*3+1*13|1+fz*13*1*5*3+1*13|1+1*13*1*b*3+1*13*i+32*13|1+1*13*1*b*3+1*13*i+6*13|1+1*13*1*b*3+1*13*i+7u*13|1+1*13*1*5*3+1*13|1+3w*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+ol*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+12v*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+53*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+4p*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13+7k*n|1+1*0|1+1*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+g4*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:9801":{"changeset":"Z:tw9<1|1s=62b=mj-1$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672003202974}},"pad:accidental-tech:revs:9802":{"changeset":"Z:tw8>4|1s=62b=mj*19+4$mpoa","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672003203475}},"pad:accidental-tech:revs:9803":{"changeset":"Z:twc>1|1s=62b=mn*19+1$r","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672003203974}},"pad:accidental-tech:revs:9804":{"changeset":"Z:twd1|1s=62b=me*19+1$a","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672003206980}},"pad:accidental-tech:revs:9806":{"changeset":"Z:tw4>4|1s=62b=mf*19+4$rts 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 2a: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, t\n\n * x-rays by Wilhelm Röntgen\n * pennicilin by Alexander Fleming\n * vulcanized rubber by Charles Goodyear\n * microwaves as heating technology by Percy Spencer\n * pacemaker by Wilson Greatbatch\n * Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n * safety pin by Walter Hunt\n * Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nThere is even some overlap with Fluxus, since George Brecht, one of Fluxus' core artists, had worked as a research chemist for Johnson & Johnson and held several patents for menstrual tampons.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with other life practices. Today, this ambition has not lessened, but even upped in arts practice, \n\n*### lens 3: aestheticized technology\n\nConversely, the example of TikTok (and Instagram before it) shows how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n\n*### lens 4: productivity and repetition\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\n\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 2a: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by the many technologies whose invention by scientists and engineers was accidental:\n\n * X-rays were accidentally discovered by Wilhelm Röntgen in an experiment whether cathode rays could pass through glass\n * pennicilin by Alexander Fleming\n * vulcanized rubber by Charles Goodyear\n * microwaves as heating technology by Percy Spencer\n * pacemaker by Wilson Greatbatch\n * Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n * safety pin by Walter Hunt\n * Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nThere is even some overlap with Fluxus, since George Brecht, one of Fluxus' core artists, had worked as a research chemist for Johnson & Johnson and held several patents for menstrual tampons.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with other life practices. Today, this ambition has not lessened, but even upped in arts practice, \n\n*### lens 3: aestheticized technology\n\nConversely, the example of TikTok (and Instagram before it) shows how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n\n*### lens 4: productivity and repetition\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\n\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|8+1ks*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|h+1h8*19*1b*1*3+1*19|8+ya*19*1a*1*3+1*19|6+1yy*19+f9*19*i+6*19|2+4n*19+5w*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*y*1*3+1*19|1+1b*0|2+2*t|3+j7*t+g*0|2+1k*0*1*5*3+1*0+3+1s*0|1+3+4*0+h+11*0+1a*n|1+2*n*1*d*3+1*n+7i*0|1+1*0*1*e*3+1*0+18+4*0|1+1*0*1*e*3+1+3*0|1+10*0*1*e*3+1*0|1+1c*0*1*e*3+1*0+z*n|1+1*n*1*e*3+1*0|2+2*0+a*n|4+52*13*1*f*3*g+1*n|1+q*t*1*f*3*h+1*n+6*13+1*n|1+p*t*1*f*3*k+1*n|1+12*t*1*f*3*l+1*n|1+1e*t*1*f*3*u+1*n|1+v*t*1*f*3*v+1*n|1+2c*t*1*f*3*w+1*n|1+q*t*1*f*3*x+1*n+57*13|1+1*t|2+u*t*1*f*3*g+1*t|1+5y*t*1*f*3*h+1*t|7+k5*t*1*f*3*g+1*t|1+et*t*1*f*3*h+1*n|2+6*0|2+2m*t|1+1*t*1*f*3*g+1*t|1+2l*t*1*f*3*h+1*t|1+78*t*1*f*3*k+1*t+3j*t*i+8*t+23*t*i+l*t+2p*t*i+l*t|1+33*t*1*f*3*l+1*t|1+8c*t*1*f*3*u+1*t|1+6i*t*1*f*3*v+1*t+3m*t*i+4*t+c9*n|4+1j*0+2x*n|2+2*13*1*5*3+1*13*17*j+l*13|1+1*13*1*5*3+1*13|1+fz*13*1*5*3+1*13|1+1*13*1*b*3+1*13*i+32*13|1+1*13*1*b*3+1*13*i+6*13|1+1*13*1*b*3+1*13*i+7u*13|1+1*13*1*5*3+1*13|1+3w*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+ol*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+12v*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+53*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+4p*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13+7k*n|1+1*0|1+1*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+g4*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:10001":{"changeset":"Z:u4c<1|1i=5mf=1w-1$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672004311781}},"pad:accidental-tech:revs:10002":{"changeset":"Z:u4b<9|1i=5mf=1x-9$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672004313087}},"pad:accidental-tech:revs:10003":{"changeset":"Z:u42>3|1i=5mf=1y*19+3$est","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672004313589}},"pad:accidental-tech:revs:10004":{"changeset":"Z:u45>1|1i=5mf=21*19+1$ 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 2a: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by the many technologies whose invention by scientists and engineers was accidental:\n\n * X-rays were accidentally discovered by Wilhelm Röntgen in a test of whether cathode rays could pass through glass;\n * Pennicillin was discovered by Alexander Fleming who found that a mold had accidentally killed bacteria cultures in his hospital lab; \n * Vulcanized rubber was discovered by Charles Goodyear who had accidentally dropped rubber mixed with sulfur on a hot stove\n * microwaves as heating technology by the enginPercy Spencer\n * pacemaker by Wilson Greatbatch\n * Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n * safety pin by Walter Hunt\n * Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nThere is even some overlap with Fluxus, since George Brecht, one of Fluxus' core artists, had worked as a research chemist for Johnson & Johnson and held several patents for menstrual tampons.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with other life practices. Today, this ambition has not lessened, but even upped in arts practice, \n\n*### lens 3: aestheticized technology\n\nConversely, the example of TikTok (and Instagram before it) shows how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n\n*### lens 4: productivity and repetition\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\n\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 2a: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by the many technologies whose invention by scientists and engineers was accidental:\n\n * X-rays were accidentally discovered by Wilhelm Röntgen in a test of whether cathode rays could pass through glass;\n * Pennicillin was discovered by Alexander Fleming who found that a mold had accidentally killed bacteria cultures in his hospital lab; \n * vulcanized rubber was discovered by Charles Goodyear who had accidentally dropped rubber mixed with sulfur on a hot stove;\n * microwaves as heating technology were discovered by the engineer Percy Spencer who found that magnetron had melted his snack;\n * the pacemaker was invented by engineer Wilson Greatbatch who wanted to record the rhythm of heart beats;\n * Sildenafil/Viagra was originally meant to treat heart blood vessel diseases when the developing company Pfizer found out that tes \n * safety pin by Walter Hunt\n * Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nThere is even some overlap with Fluxus, since George Brecht, one of Fluxus' core artists, had worked as a research chemist for Johnson & Johnson and held several patents for menstrual tampons.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with other life practices. Today, this ambition has not lessened, but even upped in arts practice, \n\n*### lens 3: aestheticized technology\n\nConversely, the example of TikTok (and Instagram before it) shows how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n\n*### lens 4: productivity and repetition\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\n\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|8+1ks*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|h+1rt*19*1b*1*3+1*19|8+ya*19*1a*1*3+1*19|6+1yy*19+f9*19*i+6*19|2+4n*19+5w*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*y*1*3+1*19|1+1b*0|2+2*t|3+j7*t+g*0|2+1k*0*1*5*3+1*0+3+1s*0|1+3+4*0+h+11*0+1a*n|1+2*n*1*d*3+1*n+7i*0|1+1*0*1*e*3+1*0+18+4*0|1+1*0*1*e*3+1+3*0|1+10*0*1*e*3+1*0|1+1c*0*1*e*3+1*0+z*n|1+1*n*1*e*3+1*0|2+2*0+a*n|4+52*13*1*f*3*g+1*n|1+q*t*1*f*3*h+1*n+6*13+1*n|1+p*t*1*f*3*k+1*n|1+12*t*1*f*3*l+1*n|1+1e*t*1*f*3*u+1*n|1+v*t*1*f*3*v+1*n|1+2c*t*1*f*3*w+1*n|1+q*t*1*f*3*x+1*n+57*13|1+1*t|2+u*t*1*f*3*g+1*t|1+5y*t*1*f*3*h+1*t|7+k5*t*1*f*3*g+1*t|1+et*t*1*f*3*h+1*n|2+6*0|2+2m*t|1+1*t*1*f*3*g+1*t|1+2l*t*1*f*3*h+1*t|1+78*t*1*f*3*k+1*t+3j*t*i+8*t+23*t*i+l*t+2p*t*i+l*t|1+33*t*1*f*3*l+1*t|1+8c*t*1*f*3*u+1*t|1+6i*t*1*f*3*v+1*t+3m*t*i+4*t+c9*n|4+1j*0+2x*n|2+2*13*1*5*3+1*13*17*j+l*13|1+1*13*1*5*3+1*13|1+fz*13*1*5*3+1*13|1+1*13*1*b*3+1*13*i+32*13|1+1*13*1*b*3+1*13*i+6*13|1+1*13*1*b*3+1*13*i+7u*13|1+1*13*1*5*3+1*13|1+3w*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+ol*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+12v*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+53*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+4p*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13+7k*n|1+1*0|1+1*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+g4*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:10201":{"changeset":"Z:uex>5|1n=64f=3u*19+5$t 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 2a: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by the many technologies whose invention by scientists and engineers was accidental:\n\n * X-rays were accidentally discovered by Wilhelm Röntgen in a test of whether cathode rays could pass through glass;\n * Pennicillin was discovered by Alexander Fleming who found that a mold had accidentally killed bacteria cultures in his hospital lab; \n * vulcanized rubber was discovered by Charles Goodyear who had accidentally dropped rubber mixed with sulfur on a hot stove;\n * microwaves as heating technology were discovered by the engineer Percy Spencer who found that magnetron had melted his snack;\n * the pacemaker was invented by engineer Wilson Greatbatch who wanted to record the rhythm of heart beats;\n * Sildenafil/Viagra was originally developed by Pfizer to treat heart blood vessel diseases when test patients found out that it worked as a potency drug; \n * The safety pin was accidentally invented by Walter Hunt when playing around with wire;\n * The Arpanet/Internet was originally developed as a means to more efficiently distribute the computational resources of timesharing computers in research institutions, but shortly after its ear e-mail became its most popular function.\n\nThere is even some overlap with Fluxus, since George Brecht, one of Fluxus' core artists, had worked as a research chemist for Johnson & Johnson and held several patents for menstrual tampons.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with other life practices. Today, this ambition has not lessened, but even upped in arts practice, \n\n*### lens 3: aestheticized technology\n\nConversely, the example of TikTok (and Instagram before it) shows how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n\n*### lens 4: productivity and repetition\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\n\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 2a: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by the many technologies whose invention by scientists and engineers was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not lessened, but even upped in the arts if one thinks of contemporary multidisciplinary artist collectives in various world regions w\n\n*### lens 3: aestheticized technology\n\nConversely, the example of TikTok (and Instagram before it) shows how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n\n*### lens 4: productivity and repetition\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\n\n\n...are reciprocal to accidental discoveries in science (i.e. where discoveries do not follow logical deduction or as a proof of a scientific theory, but as 'creative' accidents):\n*x-rays by Wilhelm Röntgen\n*penicillin by Alexander Fleming\n*vulcanized rubber by Charles Goodyear\n*microwaves as heating technology by Percy Spencer\n*pacemaker by Wilson Greatbatch\n*Sildenafil/Viagra by Pfizer (originally meant to treat heart blood vessel diseases)\n*safety pin by Walter Hunt\n*Arpanet/Internet (originally meant to more efficiently distribute computational resources of timesharing computers in research institutions, while e-mail became its most popular function)\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|8+1ks*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|4+6m*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|4+wf*19*1b*1*3+1*19|8+ya*19*1a*1*3+1*19|6+1yy*19+f9*19*i+6*19|2+4n*19+5w*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*y*1*3+1*19|1+1b*0|2+2*t|3+j7*t+g*0|2+1k*0*1*5*3+1*0+3+1s*0|1+3+4*0+h+11*0+1a*n|1+2*n*1*d*3+1*n+7i*0|1+1*0*1*e*3+1*0+18+4*0|1+1*0*1*e*3+1+3*0|1+10*0*1*e*3+1*0|1+1c*0*1*e*3+1*0+z*n|1+1*n*1*e*3+1*0|2+2*0+a*n|4+52*13*1*f*3*g+1*n|1+q*t*1*f*3*h+1*n+6*13+1*n|1+p*t*1*f*3*k+1*n|1+12*t*1*f*3*l+1*n|1+1e*t*1*f*3*u+1*n|1+v*t*1*f*3*v+1*n|1+2c*t*1*f*3*w+1*n|1+q*t*1*f*3*x+1*n+57*13|1+1*t|2+u*t*1*f*3*g+1*t|1+5y*t*1*f*3*h+1*t|7+k5*t*1*f*3*g+1*t|1+et*t*1*f*3*h+1*n|2+6*0|2+2m*t|1+1*t*1*f*3*g+1*t|1+2l*t*1*f*3*h+1*t|1+78*t*1*f*3*k+1*t+3j*t*i+8*t+23*t*i+l*t+2p*t*i+l*t|1+33*t*1*f*3*l+1*t|1+8c*t*1*f*3*u+1*t|1+6i*t*1*f*3*v+1*t+3m*t*i+4*t+c9*n|4+1j*0+2x*n|2+2*13*1*5*3+1*13*17*j+l*13|1+1*13*1*5*3+1*13|1+fz*13*1*5*3+1*13|1+1*13*1*b*3+1*13*i+32*13|1+1*13*1*b*3+1*13*i+6*13|1+1*13*1*b*3+1*13*i+7u*13|1+1*13*1*5*3+1*13|1+3w*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+ol*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+12v*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+53*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+4p*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13+7k*n|1+1*0|1+1*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+g4*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:10401":{"changeset":"Z:uf5>5|1r=6ht=pz*19+5$hose 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more sustainable modes of 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the examples we have given above show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is. This brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into a more complex techno-social dynamic. \n\nWhen technology is engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Take squats and experimental living communities in social activism, residencies and collectives in contemporary art, and their intersections in utopian-dystopian projects like Monte VeritĂ  and the Otto-MĂŒhl commune, or occult movements that often described their ways of working as technology (such as Scientology and its 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 2a: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by the many technologies whose invention by scientists and engineers was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats and experimental living communities in social activism, residencies and collectives in contemporary art, and their mutual overlaps and intersections in utopian-dystopian projects like Monte VeritĂ  and the Otto MĂŒhl commune, or occult movements that often described their ways of working as technology (such as Scientology and its \"tech\").\n\n*### lens 3: aestheticized technology\n\nConversely, the example of TikTok (and Instagram before it) shows how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n\n\n\n*### lens 4: productivity and repetition\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\n\n\n\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 2a: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by the many technologies whose invention by scientists and engineers was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats and experimental living communities in social activism, residencies and collectives in contemporary art, and their mutual overlaps and intersections in utopian-dystopian projects like Monte VeritĂ  and the Otto Muehl commune, or in occult, spiritualist and magical practices that often describe their ways of working as technology (such as shamanism, and various forms of communicating with ghosts, and some schools of Kabbalah, or gnostic mo).\n\n*### lens 3: aestheticized technology\n\nConversely, the example of TikTok (and Instagram before it) shows how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n\n\n\n*### lens 4: productivity and repetition\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\n\n\n\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|8+1ks*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|4+6m*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|8+222*19*1b*1*3+1*19|a+yc*19*1b*1*3+1*19|6+1yy*19+f9*19*i+6*19|2+4n*19+5w*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*y*1*3+1*19|1+1b*0|2+2*t|3+j7*t+g*0|2+1k*0*1*5*3+1*0+3+1s*0|1+3+4*0+h+11*0+1a*n|1+2*n*1*d*3+1*n+7i*0|1+1*0*1*e*3+1*0+18+4*0|1+1*0*1*e*3+1+3*0|1+10*0*1*e*3+1*0|1+1c*0*1*e*3+1*0+z*n|1+1*n*1*e*3+1*0|2+2*0+a*n|3+3*13|1+1*t|2+u*t*1*f*3*g+1*t|1+5y*t*1*f*3*h+1*t|7+k5*t*1*f*3*g+1*t|1+et*t*1*f*3*h+1*n|2+6*0|2+2m*t|1+1*t*1*f*3*g+1*t|1+2l*t*1*f*3*h+1*t|1+78*t*1*f*3*k+1*t+3j*t*i+8*t+23*t*i+l*t+2p*t*i+l*t|1+33*t*1*f*3*l+1*t|1+8c*t*1*f*3*u+1*t|1+6i*t*1*f*3*v+1*t+3m*t*i+4*t+c9*n|4+1j*0+2x*n|2+2*13*1*5*3+1*13*17*j+l*13|1+1*13*1*5*3+1*13|1+fz*13*1*5*3+1*13|1+1*13*1*b*3+1*13*i+32*13|1+1*13*1*b*3+1*13*i+6*13|1+1*13*1*b*3+1*13*i+7u*13|1+1*13*1*5*3+1*13|1+3w*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+ol*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+12v*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+53*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+4p*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13+7k*n|1+1*0|1+1*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:10601":{"changeset":"Z:v2h>6|1v=7sz=ke*19+6$vement","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672006908692}},"pad:accidental-tech:revs:10602":{"changeset":"Z:v2n>4|1v=7sz=kk*19+4$s 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difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\n\n\n\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672007700721}},"pad:accidental-tech:revs:10622":{"changeset":"Z:v3j1|1v=7sz=lk*19|1+1$\n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672007757416}},"pad:accidental-tech:revs:10624":{"changeset":"Z:uke>2|1w=8ek*19|2+2$\n\n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672007758013}},"pad:accidental-tech:revs:10625":{"changeset":"Z:ukg>j6|1y=8em*19|2+3r*19+ff$ difficult to differentiate from techno-social practices anyway \n [good examples include experimental platform and community building \n in hacker culture vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 2a: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by the many technologies whose invention by scientists and engineers was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats and experimental living communities in social activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022, as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (such as shamanism, and various forms of communicating with ghosts, and some schools of Kabbalah, or contemporary gnostic movements such as Scientology).\n\n\n \n vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n\n*### lens 3: aestheticized technology\n\nConversely, the example of TikTok (and Instagram before it) shows how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nI. Intro\n\n\n\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n*### lens 4: productivity and repetition\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 2a: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts:\n\n\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nby the many technologies whose invention by scientists and engineers was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesia equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and contemporary gnostic movements such as Scientology).\n \n vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n\n*### lens 3: aestheticized technology\n\nConversely, the example of TikTok (and Instagram before it) shows how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n*\n\nI. Intro\n\n\n\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n*### lens 4: productivity and repetition\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|8+1ks*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|7+6o*19*1*5*3+1*19|2+4w*19*1*d*3+1*19|1+7j*19*1*e*3+1*19|1+1d*19*1*e*3+1*19|1+13*19*1*e*3+1*19|1+1c*19*1*e*3+1*19|1+10*19*1*e*3+1*19|4+2g*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|a+2or*19*1b*1*3+1*19|6+y8*19*1*e*3+1*19|8+1a*19*1*f*3+1*19|1+5y*19*1*f*3+1*19|7+k5*19*1*f*3+1*19|1+et*19*1*f*3+1*19|5+2t*19*1*f*3+1*19|1+2l*19*1*f*3+1*19|1+78*19*1*f*3+1*19+3j*19*i+8*19+23*19*i+l*19+2p*19*i+l*19|1+33*19*1*f*3+1*19|1+8c*19*1*f*3+1*19|1+6i*19*1*f*3+1*19+3m*19*i+4*19|2+cb*19*1b*1*3+1*19|6+1yy*19+f9*19*i+6*19|2+4n*19+5w*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*0+2x*n|2+2*13*1*5*3+1*13*17*j+l*13|1+1*13*1*5*3+1*13|1+fz*13*1*5*3+1*13|1+1*13*1*b*3+1*13*i+32*13|1+1*13*1*b*3+1*13*i+6*13|1+1*13*1*b*3+1*13*i+7u*13|1+1*13*1*5*3+1*13|1+3w*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+ol*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+12v*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+53*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+4p*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13+7k*n|1+1*0|1+1*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:10801":{"changeset":"Z:v6g>1|1g=5hl=2t*19+1$ 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 2a: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artists' practice and research intuitively suggest accide \n\n\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nby the many technologies whose invention by scientists and engineers was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesia equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and contemporary gnostic movements such as Scientology).\n \n vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n\n*### lens 3: aestheticized technology\n\nConversely, the example of TikTok (and Instagram before it) shows how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n*\n\nI. Intro\n\n\n\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n*### lens 4: productivity and repetition\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 2a: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artists' research practices such as pataphysics, psychogeography and nonkrong have accidents as their program, there are also the opposite examples of arts taken up the model of military and industrial invention \n\n\n \\/\nArtistic Practice (Research?) as Accidental Technology\n*/\\ /\\\n in broadest sense as opposed to prevalence of military invention \n* [not sure about this opposition, thinking of Italian futurism and \"avant-garde\" as an originally military concept that still informs technology-oriented art; also the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nby the many technologies whose invention by scientists and engineers was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesia equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and contemporary gnostic movements such as Scientology).\n \n vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n\n*### lens 3: aestheticized technology\n\nConversely, the example of TikTok (and Instagram before it) shows how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n*\n\nI. Intro\n\n\n\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n*### lens 4: productivity and repetition\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|8+1ks*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|9+fy*19*1*5*3+1*19|2+4w*19*1*d*3+1*19|1+7j*19*1*e*3+1*19|1+1d*19*1*e*3+1*19|1+13*19*1*e*3+1*19|1+1c*19*1*e*3+1*19|1+10*19*1*e*3+1*19|4+2g*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|a+2or*19*1b*1*3+1*19|6+y8*19*1*e*3+1*19|8+1a*19*1*f*3+1*19|1+5y*19*1*f*3+1*19|7+k5*19*1*f*3+1*19|1+et*19*1*f*3+1*19|5+2t*19*1*f*3+1*19|1+2l*19*1*f*3+1*19|1+78*19*1*f*3+1*19+3j*19*i+8*19+23*19*i+l*19+2p*19*i+l*19|1+33*19*1*f*3+1*19|1+8c*19*1*f*3+1*19|1+6i*19*1*f*3+1*19+3m*19*i+4*19|2+cb*19*1b*1*3+1*19|6+1yy*19+f9*19*i+6*19|2+4n*19+5w*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*0+2x*n|2+2*13*1*5*3+1*13*17*j+l*13|1+1*13*1*5*3+1*13|1+fz*13*1*5*3+1*13|1+1*13*1*b*3+1*13*i+32*13|1+1*13*1*b*3+1*13*i+6*13|1+1*13*1*b*3+1*13*i+7u*13|1+1*13*1*5*3+1*13|1+3w*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+ol*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+12v*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+53*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+4p*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13+7k*n|1+1*0|1+1*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:11001":{"changeset":"Z:vfq>1|1i=5nl=62*19+1$)","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672011517574}},"pad:accidental-tech:revs:11002":{"changeset":"Z:vfr<1|1i=5nl=62-1$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672011518375}},"pad:accidental-tech:revs:11003":{"changeset":"Z:vfq>1|1i=5nl=62*19+1$(","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672011518875}},"pad:accidental-tech:revs:11004":{"changeset":"Z:vfr<1|1i=5nl=62-1$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672011519976}},"pad:accidental-tech:revs:11005":{"changeset":"Z:vfq<1|1i=5nl=61-1$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672011520477}},"pad:accidental-tech:revs:11006":{"changeset":"Z:vfp>2|1i=5nl=61*19+2$: 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Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 2a: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artists' research practices such as pataphysics, psychogeography and nonkrong have accidents as their program, there are also the opposite examples of arts taken up the model of military and industrial invention, such as Italian futurism, highly institutionalized forms of research lab art, and in the very notion of \"avant-garde\". \n\n\n\nalso the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nConversely, many technologies w scientists and engineers was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesia equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and contemporary gnostic movements such as Scientology).\n \n vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n\n*### lens 3: aestheticized technology\n\nConversely, the example of TikTok (and Instagram before it) shows how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n*\n\nI. Intro\n\n\n\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n*### lens 4: productivity and repetition\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 2a: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artists' research practices such as pataphysics, psychogeography and nonkrong have accidents as their program, there are also the opposite examples of arts taken up the model of military and industrial invention, such as Italian futurism, highly institutionalized forms of research lab art, and in the very notion of \"avant-garde\". And while modelling itself after the military, Italian futurism still wa In addition, there is the blurring of both extremes\n\n\n\nalso the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesia equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and contemporary gnostic movements such as Scientology).\n \n vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n\n*### lens 3: aestheticized technology\n\nConversely, the example of TikTok (and Instagram before it) shows how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n*\n\nI. Intro\n\n\n\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n*### lens 4: productivity and repetition\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|8+1ks*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|9+nr*19*1*e*3+1*19|1+1d*19*1*e*3+1*19|1+13*19*1*e*3+1*19|1+1c*19*1*e*3+1*19|1+10*19*1*e*3+1*19|4+3t*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|a+2or*19*1b*1*3+1*19|6+y8*19*1*e*3+1*19|8+1a*19*1*f*3+1*19|1+5y*19*1*f*3+1*19|7+k5*19*1*f*3+1*19|1+et*19*1*f*3+1*19|5+2t*19*1*f*3+1*19|1+2l*19*1*f*3+1*19|1+78*19*1*f*3+1*19+3j*19*i+8*19+23*19*i+l*19+2p*19*i+l*19|1+33*19*1*f*3+1*19|1+8c*19*1*f*3+1*19|1+6i*19*1*f*3+1*19+3m*19*i+4*19|2+cb*19*1b*1*3+1*19|6+1yy*19+f9*19*i+6*19|2+4n*19+5w*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*0+2x*n|2+2*13*1*5*3+1*13*17*j+l*13|1+1*13*1*5*3+1*13|1+fz*13*1*5*3+1*13|1+1*13*1*b*3+1*13*i+32*13|1+1*13*1*b*3+1*13*i+6*13|1+1*13*1*b*3+1*13*i+7u*13|1+1*13*1*5*3+1*13|1+3w*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+ol*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+12v*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+53*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+4p*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13+7k*n|1+1*0|1+1*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:11201":{"changeset":"Z:vcf>4|1i=5nl=be*19+4$s 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 2a: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artists' research practices such as pataphysics, psychogeography and nonkrong have accidents as their program, there are also the opposite examples of arts taken up the model of military and industrial invention, such as Italian futurism, the example of Lamarr and Antheil, as well as highly institutionalized forms of research lab art, and in the very notion of \"avant-garde\". And while modelling itself after the military, Italian futurism still was highly experimental and open-ended, with today's non-European futurisms - Afrofuturism and Sinofuturism - only expanding \n\n\n\nalso the furthering of Italian futurism into Afro- and Sinofuturism; see also the example of Lamarr/Antheil]\n*- what does accidental artistic invention do \n* differently than martial invention?\n*- how to delve into this without romanticising?\n*- art as human self-experimentation\n*\n\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesia equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and contemporary gnostic movements such as Scientology).\n \n vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n\n*### lens 3: aestheticized technology\n\nConversely, the example of TikTok (and Instagram before it) shows how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n*\n\nI. Intro\n\n\n\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n*### lens 4: productivity and repetition\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 2a: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n*\n vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n\n*### lens 3: aestheticized technology\n\nConversely, the example of TikTok (and Instagram before it) shows how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n*\n\nI. Intro\n\n\n\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n*### lens 4: productivity and repetition\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|8+1ks*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+pi*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|9+29l*19*1*e*3+1*19|3+f1*19*1b*1*3+1*19|6+y8*19*1*e*3+1*19|8+1a*19*1*f*3+1*19|1+5y*19*1*f*3+1*19|7+k5*19*1*f*3+1*19|1+et*19*1*f*3+1*19|5+2t*19*1*f*3+1*19|1+2l*19*1*f*3+1*19|1+78*19*1*f*3+1*19+3j*19*i+8*19+23*19*i+l*19+2p*19*i+l*19|1+33*19*1*f*3+1*19|1+8c*19*1*f*3+1*19|1+6i*19*1*f*3+1*19+3m*19*i+4*19|2+cb*19*1b*1*3+1*19|6+1yy*19+f9*19*i+6*19|2+4n*19+5w*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*0+2x*n|2+2*13*1*5*3+1*13*17*j+l*13|1+1*13*1*5*3+1*13|1+fz*13*1*5*3+1*13|1+1*13*1*b*3+1*13*i+32*13|1+1*13*1*b*3+1*13*i+6*13|1+1*13*1*b*3+1*13*i+7u*13|1+1*13*1*5*3+1*13|1+3w*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+ol*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+12v*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+53*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+4p*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13+7k*n|1+1*0|1+1*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:11401":{"changeset":"Z:v95>1|1x=7zs*19|1+1$\n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672013479202}},"pad:accidental-tech:revs:11402":{"changeset":"Z:v96>4u|1x=7zs*19|4+4t*19*1*e*3+1$- 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 2a: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes human self-experimentation - and if this \"self\" has become increasingly collectivized and extended to whole communities -, how is it different from martial inventi\n\n- what does accidental artistic invention do \n- differently than martial invention?\n- how to delve into this without romanticising?\n- art as human self-experimentation\n*\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n*\n vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers), but also the difficult and often arbitrary differentiations of experimental social/political communities [squatting, experimental lifestyle communes] and collective/community art practices [residencies, collectives etc.; in Western art/design history at least traceable to the socialist Arts & Crafts communities in the 19th century; in East Asian histories to monastries, anarchist/revolutionary groups {?!?}]\n\n*### lens 3: aestheticized technology\n\nConversely, the example of TikTok (and Instagram before it) shows how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n*\n\nI. Intro\n\n\n\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n*### lens 4: productivity and repetition\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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romanticising?\n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672013988992}},"pad:accidental-tech:revs:11563":{"changeset":"Z:vhe<4|1x=7zs-5*19+1$I","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672014006031}},"pad:accidental-tech:revs:11564":{"changeset":"Z:vha>1|1x=7zs=1*19+1$f","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672014006530}},"pad:accidental-tech:revs:11565":{"changeset":"Z:vhb>1|1x=7zs=2*19+1$ ","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672014007131}},"pad:accidental-tech:revs:11566":{"changeset":"Z:vhc<1|1x=7zs=2-1$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672014007637}},"pad:accidental-tech:revs:11567":{"changeset":"Z:vhb>1|1x=7zs=7*19+1$t","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672014008431}},"pad:accidental-tech:revs:11568":{"changeset":"Z:vhc>4|1x=7zs=8*19+4$hus ","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672014008933}},"pad:accidental-tech:revs:11569":{"changeset":"Z:vhg4|2a=9kq=1*19+4$n 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lens 3: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. 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and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n- how to delve into this without romanticising?\n*\n vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers),\n\n\n\n*\n\nI. Intro\n\n\n\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n*\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n*### lens 7: [productivity and repetition]\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|8+1ks*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|c+2hw*19*1*e*3+1*19|5+3o*19*1*e*3+1*19|8+1a*19*1*f*3+1*19|1+5y*19*1*f*3+1*19|7+k5*19*1*f*3+1*19|1+et*19*1*f*3+1*19|5+2t*19*1*f*3*g+1*19|1+2l*19*1*f*3*h+1*19|1+78*19*1*f*3*k+1*19+3j*19*i+8*19+23*19*i+l*19+2p*19*i+l*19|1+33*19*1*f*3*l+1*19|1+8c*19*1*f*3*u+1*19|1+6i*19*1*f*3*v+1*19+3m*19*i+4*19|1+ca*19*1*f*3*w+1*19|1+1*19*1b*1*3+1*19|6+xv*19*1b*1*3+1*19|6+1z0*19+f9*19*i+6*19|2+4n*19+5w*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*0+2x*n|2+2*13*1*5*3+1*13*17*j+l*13|1+1*13*1*5*3+1*13|1+fz*13*1*5*3+1*13|1+1*13*1*b*3+1*13*i+32*13|1+1*13*1*b*3+1*13*i+6*13|1+1*13*1*b*3+1*13*i+7u*13|1+1*13*1*5*3+1*13|1+3w*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+ol*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+12v*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+53*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+4p*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13+7k*n|1+1*0|1+1*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:11601":{"changeset":"Z:v5s<1|39=d8b=a-1$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672017468839}},"pad:accidental-tech:revs:11602":{"changeset":"Z:v5r>1|39=d8b=a*19+1$6","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672017469338}},"pad:accidental-tech:revs:11603":{"changeset":"Z:v5s>1|22=9el*19|1+1$\n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672017490377}},"pad:accidental-tech:revs:11604":{"changeset":"Z:v5t>2|23=9em*19|1+1*19+1$\n#","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672017490877}},"pad:accidental-tech:revs:11605":{"changeset":"Z:v5v>1|24=9en=1*19+1$#","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672017491380}},"pad:accidental-tech:revs:11606":{"changeset":"Z:v5w>1|24=9en=2*19+1$ 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vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers),\n\n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672017577533}},"pad:accidental-tech:revs:11644":{"changeset":"Z:v7l<1|27=9j8|1-1$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672017578239}},"pad:accidental-tech:revs:11645":{"changeset":"Z:v7k2|24=9en=d*19+2$ac","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672017602089}},"pad:accidental-tech:revs:11648":{"changeset":"Z:v79>5|24=9en=f*19+5$ciden","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672017602594}},"pad:accidental-tech:revs:11649":{"changeset":"Z:v7e>2|24=9en=k*19+2$ts","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672017603089}},"pad:accidental-tech:revs:11650":{"changeset":"Z:v7g>4|24=9en=m*19+4$ of 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Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672017658199}},"pad:accidental-tech:revs:11672":{"changeset":"Z:v9r<1e|3c=daa=1r-1e$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672017666616}},"pad:accidental-tech:revs:11673":{"changeset":"Z:v8d<1|3c=daa=1r|1-1$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672017668119}},"pad:accidental-tech:revs:11674":{"changeset":"Z:v8c1|22=9el*19|1+1$\n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672017693042}},"pad:accidental-tech:revs:11676":{"changeset":"Z:uai>xv|23=9em*19*1b*1*3+1*19|5+xu$*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672017693542}},"pad:accidental-tech:revs:11677":{"changeset":"Z:v8d2|30=aus*g=1|1=2l*h=1|1=78*k=1|1=cs*l=1|1=8c*u=1|1=6i*v=1=fz*19|2+2$\n\n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672017708572}},"pad:accidental-tech:revs:11681":{"changeset":"Z:uai>1|37=cce*19|1+1$\n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672017709173}},"pad:accidental-tech:revs:11682":{"changeset":"Z:uaj>xv|38=ccf*19*1b*1*3+1*19|5+xu$*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672017709672}},"pad:accidental-tech:revs:11683":{"changeset":"Z:v8e>1|27=9fw*19+1$I","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672017733615}},"pad:accidental-tech:revs:11684":{"changeset":"Z:v8f>4|27=9fw=1*19+4$f th","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672017734118}},"pad:accidental-tech:revs:11685":{"changeset":"Z:v8j>3|27=9fw=5*19+3$ere","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672017734715}},"pad:accidental-tech:revs:11686":{"changeset":"Z:v8m>2|27=9fw=8*19|2+2$\n\n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672017735219}},"pad:accidental-tech:revs:11687":{"changeset":"Z:v8o>2|27=9fw=8*19+2$'s","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672017736419}},"pad:accidental-tech:revs:11688":{"changeset":"Z:v8q>1|27=9fw=a*19+1$ 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\n\nIf there is non- or less-accid\n\n vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers),\n\n\nHow to delve into artists' accidental technologies without romanticising?\n*\n\n\n*\n\nI. Intro\n\n\n\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*### lens 6: DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\n\nExamples of largely non-accidental, quasi-systematic technology development in the arts exist, too: particularly in research-oriented electronic\n\n\n vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers),\n\n\nHow to delve into artists' accidental technologies without romanticising?\n*\n\n\n*\n\nI. Intro\n\n\n\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*### lens 6: DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|8+1ks*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|c+2gl*19*1b*1*3+1*19|9+ay*19*1*e*3+1*19|3+3*19*1*e*3+1*19|8+1a*19*1*f*3+1*19|1+5y*19*1*f*3+1*19|7+k5*19*1*f*3+1*19|1+et*19*1*f*3+1*19|5+2t*19*1*f*3*g+1*19|1+2l*19*1*f*3*h+1*19|1+78*19*1*f*3*k+1*19+3j*19*i+8*19+23*19*i+l*19+2p*19*i+l*19|1+33*19*1*f*3*l+1*19|1+8c*19*1*f*3*u+1*19|1+6i*19*1*f*3*v+1*19+3m*19*i+4*19|3+cc*19*1b*1*3+1*19|7+xw*19*1b*1*3+1*19|6+1zl*19+f9*19*i+6*19|2+4n*19+5w*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*0+2x*n|2+2*13*1*5*3+1*13*17*j+l*13|1+1*13*1*5*3+1*13|1+fz*13*1*5*3+1*13|1+1*13*1*b*3+1*13*i+32*13|1+1*13*1*b*3+1*13*i+6*13|1+1*13*1*b*3+1*13*i+7u*13|1+1*13*1*5*3+1*13|1+3w*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+ol*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+12v*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+53*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+4p*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13+7k*n|1+1*0|1+1*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:11801":{"changeset":"Z:vch>5|27=9fw=40*19+5$ 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\n\nExamples of largely non-accidental, quasi-systematic technology development in the arts exist, too: particularly in research-oriented electronic and computer music, where composition always included the (hardware and software) instruments, or in the development of community media tools, such in the 1970s v\n\n\n vs./and in contemporary art, development of experimental tools (Raindance Corporation, Lifepatch, varia/Hackers & Designers),\n\n\nHow to delve into artists' accidental technologies without romanticising?\n*\n\n\n*\n\nI. Intro\n\n\n\n\nvs. technological accidents:\n*Extrapool/Knust's attempt to find a healthier, non-toxic printing process, which resulted in the invention of full-color Riso printing and the explosion of artist-run DIY publishing/printmaking in the 2010s/2020s \n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*\n \n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*### lens 6: DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\n\nExamples of largely non-accidental, quasi-systematic technology development in the arts exist, too: particularly in research-oriented electronic and computer music, where composition always included the (hardware and software) instruments, or in the development of community media tools, such in the 1970s video activism of the Raindance Corporation, or today in the development of community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut wIf one investigates the failures\n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 2010http://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\nIt would be a (romanticist) simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*\n \n\n\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*### lens 6: DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|8+1ks*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|c+2gl*19*1b*1*3+1*19|8+i0*19*1*f*3+1*19|1+2l*19*1*f*3+1*19|1+78*19*1*f*3+1*19+3j*19*i+8*19+23*19*i+l*19+2p*19*i+l*19|1+33*19*1*f*3+1*19|1+8c*19*1*f*3+1*19|1+6i*19*1*f*3+1*19+3m*19*i+4*19|3+d4*19*1*f*3+1*19|1+1*19*1*f*3+1*19|7+k5*19*1*f*3+1*19|1+et*19*1*f*3+1*19|6+a*19*1b*1*3+1*19|7+xw*19*1b*1*3+1*19|6+1zl*19+f9*19*i+6*19|2+4n*19+5w*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*0+2x*n|2+2*13*1*5*3+1*13*17*j+l*13|1+1*13*1*5*3+1*13|1+fz*13*1*5*3+1*13|1+1*13*1*b*3+1*13*i+32*13|1+1*13*1*b*3+1*13*i+6*13|1+1*13*1*b*3+1*13*i+7u*13|1+1*13*1*5*3+1*13|1+3w*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+ol*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+12v*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+53*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+4p*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13+7k*n|1+1*0|1+1*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:12001":{"changeset":"Z:vag>4|29=9t0=5*19+4$hgat","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672018499382}},"pad:accidental-tech:revs:12002":{"changeset":"Z:vak<2|29=9t0=7-2$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672018499886}},"pad:accidental-tech:revs:12003":{"changeset":"Z:vai>2|29=9t0=6-1*19+3$at 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would be a simplification of art if one would generally and sweepingly credit it for accidental technologies. The opposite is also true:\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672018709715}},"pad:accidental-tech:revs:12092":{"changeset":"Z:vdc>1|26=9fv=z*19+1$ ","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672018714317}},"pad:accidental-tech:revs:12093":{"changeset":"Z:vdd<8|26=9fv=t-8|1=2w*g=1|1=et*h=1$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672018718023}},"pad:accidental-tech:revs:12094":{"changeset":"Z:vd5<1|26=9fv=22-2*19+1$a","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672018721730}},"pad:accidental-tech:revs:12095":{"changeset":"Z:vd4>2|26=9fv=23*19+2$rt","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672018722230}},"pad:accidental-tech:revs:12096":{"changeset":"Z:vd6<1|26=9fv=3o-1|1=1*g=1|1=et*h=1$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672018725738}},"pad:accidental-tech:revs:12097":{"changeset":"Z:vd5>1|26=9fv=3o*19+1$.","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672018726339}},"pad:accidental-tech:revs:12098":{"changeset":"Z:vd6>1|26=9fv=3p*19+1$ ","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672018727444}},"pad:accidental-tech:revs:12099":{"changeset":"Z:vd7>1|26=9fv=3q*19+1$F","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672018729344}},"pad:accidental-tech:revs:12100":{"changeset":"Z:vd8>2|26=9fv=3r*19+2$Or","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672018729841,"pool":{"numToAttrib":{"0":["author","a.JEqAYyDjjr7nBbrP"],"1":["insertorder","first"],"2":["list","indent1"],"3":["lmkr","1"],"4":["list","indent2"],"5":["list","indent3"],"6":["author",""],"7":["bold","true"],"8":["font-size","20"],"9":["align","center"],"10":["list","indent4"],"11":["list","indent5"],"12":["list","indent6"],"13":["list","indent12"],"14":["list","indent16"],"15":["list","bullet1"],"16":["start","1"],"17":["start","2"],"18":["italic","true"],"19":["underline","true"],"20":["start","3"],"21":["start","4"],"22":["font-size:20","true"],"23":["author","a.LowjiYmxoyQ4UIpr"],"24":["list","indent8"],"25":["list","indent9"],"26":["list","indent10"],"27":["list","indent11"],"28":["italic",""],"29":["author","a.SHnZ8wHiOJAZKNhH"],"30":["start","5"],"31":["start","6"],"32":["start","7"],"33":["start","8"],"34":["heading","h1"],"35":["start","9"],"36":["list","number1"],"37":["author","a.9xyfdTK9d5vlYgmS"],"38":["comment","c-brDIW14twuzORXOD"],"39":["author","a.ERPqZS7yHknYSYTK"],"40":["align","right"],"41":["font-size","12"],"42":["font-size","18"],"43":["font-size:18","true"],"44":["align","left"],"45":["author","a.3khkb9iB0qgHltWi"],"46":["heading","h2"],"47":["heading","h3"],"48":["color","blue"],"49":["color","red"],"50":["color",""],"51":["comment","c-WQqkYQpfC02O17ks"]},"attribToNum":{"author,a.JEqAYyDjjr7nBbrP":0,"insertorder,first":1,"list,indent1":2,"lmkr,1":3,"list,indent2":4,"list,indent3":5,"author,":6,"bold,true":7,"font-size,20":8,"align,center":9,"list,indent4":10,"list,indent5":11,"list,indent6":12,"list,indent12":13,"list,indent16":14,"list,bullet1":15,"start,1":16,"start,2":17,"italic,true":18,"underline,true":19,"start,3":20,"start,4":21,"font-size:20,true":22,"author,a.LowjiYmxoyQ4UIpr":23,"list,indent8":24,"list,indent9":25,"list,indent10":26,"list,indent11":27,"italic,":28,"author,a.SHnZ8wHiOJAZKNhH":29,"start,5":30,"start,6":31,"start,7":32,"start,8":33,"heading,h1":34,"start,9":35,"list,number1":36,"author,a.9xyfdTK9d5vlYgmS":37,"comment,c-brDIW14twuzORXOD":38,"author,a.ERPqZS7yHknYSYTK":39,"align,right":40,"font-size,12":41,"font-size,18":42,"font-size:18,true":43,"align,left":44,"author,a.3khkb9iB0qgHltWi":45,"heading,h2":46,"heading,h3":47,"color,blue":48,"color,red":49,"color,":50,"comment,c-WQqkYQpfC02O17ks":51},"nextNum":52},"atext":{"text":"*đŸ”¶ đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. FOr\n*In the field of digital technologies, science fiction literature has historically served as the direct inspiration for technological research and development, particularly in the field of artificial intelligence. [Computer hackers also are among the most avid readers and viewers of science fiction literature, films and tv.] One could argue that science fiction often functions as a master plan for a technology - a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*\n\nExamples of largely non-accidental, quasi-systematic technology development in the arts exist, too: particularly in research-oriented electronic and computer music, where composition always included the (hardware and software) instruments, or in the development of community media tools, such in the 1970s video activism of the Raindance Corporation, or today in the development of community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically or romantically look at accidents in artists' technological _poiesis_, but at accidents in the sense of failure?\n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 201\nhttp://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\n\n\n*\n \n\n\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*### lens 6: DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology a highly elaborate, systematically developed blueprint - and thus as the very opposite of an \"accidental technology\".\n*\n\nExamples of largely non-accidental, quasi-systematic technology development in the arts exist, too: particularly in research-oriented electronic and computer music, where composition always included the (hardware and software) instruments, or in the development of community media tools, such in the 1970s video activism of the Raindance Corporation, or today in the development of community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically or romantically look at accidents in artists' technological _poiesis_, but at accidents in the sense of failure?\n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 201\nhttp://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\n\n\n*\n \n\n\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*### lens 6: DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|8+1ks*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|c+2gl*19*1b*1*3+1*19|2+ji*19*1*f*3*g+1*19|8+k1*19*1*f*3+1*19|1+2l*19*1*f*3+1*19|1+78*19*1*f*3+1*19+3j*19*i+8*19+23*19*i+l*19+2p*19*i+l*19|1+33*19*1*f*3+1*19|1+8c*19*1*f*3+1*19|1+6i*19*1*f*3+1*19+3m*19*i+4*19|3+d4*19*1*f*3+1*19|1+1*19*1*f*3+1*19|9+fx*19*1*f*3*h+1*19|6+a*19*1b*1*3+1*19|7+xw*19*1b*1*3+1*19|6+1zl*19+f9*19*i+6*19|2+4n*19+5w*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*0+2x*n|2+2*13*1*5*3+1*13*17*j+l*13|1+1*13*1*5*3+1*13|1+fz*13*1*5*3+1*13|1+1*13*1*b*3+1*13*i+32*13|1+1*13*1*b*3+1*13*i+6*13|1+1*13*1*b*3+1*13*i+7u*13|1+1*13*1*5*3+1*13|1+3w*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+ol*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+12v*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+53*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+4p*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13+7k*n|1+1*0|1+1*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:12201":{"changeset":"Z:vcy>2|26=9fv=f0-1*19+3|1=3b*g=1$,m 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the Raindance Corporation, or today in the development of community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically or romantically look at accidents in artists' technological _poiesis_, but at accidents in the sense of failure?\n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 201\nhttp://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\n\n\n*\n \n\n\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*### lens 6: DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents or even catastrophic failure? The previous example of the Otto Muehl commune, which began as an artist-run social experiment and ended in criminal convicitio\n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 201\nhttp://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n\n\n\n*\n \n\n\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*### lens 6: DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|8+1ks*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|c+2gl*19*1b*1*3+1*19|9+16g*19*1*f*3+1*19|1+2l*19*1*f*3+1*19|1+78*19*1*f*3+1*19+3j*19*i+8*19+23*19*i+l*19+2p*19*i+l*19|1+33*19*1*f*3+1*19|1+8c*19*1*f*3+1*19|1+6i*19*1*f*3+1*19+3m*19*i+4*19|3+d4*19*1*f*3+1*19|1+1*19*1*f*3+1*19|9+fx*19*1*f*3*h+1*19|6+a*19*1b*1*3+1*19|7+xw*19*1b*1*3+1*19|6+1zl*19+f9*19*i+6*19|2+4n*19+5w*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*0+2x*n|2+2*13*1*5*3+1*13*17*j+l*13|1+1*13*1*5*3+1*13|1+fz*13*1*5*3+1*13|1+1*13*1*b*3+1*13*i+32*13|1+1*13*1*b*3+1*13*i+6*13|1+1*13*1*b*3+1*13*i+7u*13|1+1*13*1*5*3+1*13|1+3w*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+ol*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+12v*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+53*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+4p*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13+7k*n|1+1*0|1+1*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:12401":{"changeset":"Z:vfu>1|2a=ab1=7g*19+1$n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672019197962}},"pad:accidental-tech:revs:12402":{"changeset":"Z:vfv>1|2a=ab1=7h*19+1$s","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672019200569}},"pad:accidental-tech:revs:12403":{"changeset":"Z:vfw>2|2a=ab1=7i*19+2$ 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, might be the strongest example\n\nII. Networks, Artistic Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n(can also be framed in relation to Post-Internet art and philosophical right-wing accelerationism, with artist Brad Troemel having asked the question šWhat Relational Aesthetics Can Learn From 4Chan\" in 201\nhttp://artfcity.com/wp-content/uploads/2010/08/ART-PRODUCED-FROM-THE-SOCIAL-INTERACTIONS-OF-A-NETWORK-OF-PARTICIPANTS-YOURE-DOING-IT-WRONG.jpg\n[this is a stab at Liam Gillick, who happened to be Hito Steyerl's collaborator in the documenta fifteen piece she withdrew from the event]\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create \n\n\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*### lens 6: DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\nIII. DIY, Self-experimentation, raising meta-narratives (conscientiousness of 'media'), not romanticising\n\n*2022 December 易-notes\n*relation/difference between accident and coincidence, which perhaps both play into similar temporalities in the present, seem also quite different in terms of their connotations and economic repercussions. I am thinking here per se about the example of scientific/technological innovation, which seems to emerge historically as a documented accident which is then easily appropriated by corporate or state interests because they occur very often within the frames of the institution (university, military, corporation) and can be directly used and scaled-up for production.\n*\n*From a common-sense perspective, increased control over time comes as a consequence of the conquest of space. \n*[...] \n*an old but newly popular argument among economists, that large investments in infrastructure reduce the time it takes to move goods, producing an improvement that is measured as development. From this perspective, colonialism can be shown to have improved the life of the colonized.\n*-Timothy Mitchell, \"Infrastructures Work on Time\" [https://www.e-flux.com/architecture/new-silk-roads/312596/infrastructures-work-on-time/]\n*\n*In his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative standard by which to consider large infrastructure projects, something akin to environmentalists' call for degrowth. This so-called reversal is perhaps what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest. As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down.\n*\n*The temporality of the accident, however, is never about slowing down nor speeding up, but nestles within the gap between past and future—a rip in a planned timeline of the experiment which alters the trajectory of the an otherwise predicted future. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, an unintentionally launching the disposable menstral pad industry. Scientists answering to the US government's calls for synthetic rubber in light of the shortages during World War II fail with a not hard enough silicone polymer which became the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be a resultant accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these rips in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-times.\n*\n*What we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable, or that which cannot be scaled-up. \n*\n*\n*\n*\n*An ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n*\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|8+1ks*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|c+2gl*19*1b*1*3+1*19|9+186*19*1*f*3+1*19|1+2l*19*1*f*3+1*19|1+78*19*1*f*3+1*19+3j*19*i+8*19+23*19*i+l*19+2p*19*i+l*19|1+33*19*1*f*3+1*19|1+8c*19*1*f*3+1*19|1+6i*19*1*f*3+1*19+3m*19*i+4*19|3+d4*19*1*f*3+1*19|1+1*19*1*f*3+1*19|b+j3*19*1b*1*3+1*19|7+xw*19*1b*1*3+1*19|6+1zl*19+f9*19*i+6*19|2+4n*19+5w*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*0+2x*n|2+2*13*1*5*3+1*13*17*j+l*13|1+1*13*1*5*3+1*13|1+fz*13*1*5*3+1*13|1+1*13*1*b*3+1*13*i+32*13|1+1*13*1*b*3+1*13*i+6*13|1+1*13*1*b*3+1*13*i+7u*13|1+1*13*1*5*3+1*13|1+3w*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+ol*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+12v*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+53*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+4p*13*1*5*3+1*13|1+1*13*1*5*3+1*13|1+1*13*1*5*3+1*13+7k*n|1+1*0|1+1*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|4+11+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:12501":{"changeset":"Z:vkf>4|2t=cl7=34*19+4$tech","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672019699077}},"pad:accidental-tech:revs:12502":{"changeset":"Z:vkj>3|2t=cl7=38*19+3$nol","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672019699579}},"pad:accidental-tech:revs:12503":{"changeset":"Z:vkm>4|2t=cl7=3b*19+4$ogie","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672019700082}},"pad:accidental-tech:revs:12504":{"changeset":"Z:vkq>3|2t=cl7=3f*19+3$s. 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nonkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography - roaming in cities and other environments - was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nonkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022 ]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, might be the strongest example\n\nII. Networks, Art Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's D\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|8+1ks*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|c+2gl*19*1b*1*3+1*19|9+181*19*1*f*3+1*19|1+2l*19*1*f*3+1*19|1+78*19*1*f*3+1*19+3j*19*i+8*19+23*19*i+l*19+2p*19*i+l*19|1+33*19*1*f*3+1*19|1+8c*19*1*f*3+1*19|1+6i*19*1*f*3+1*19+3m*19*i+4*19|3+d4*19*1*f*3+1*19|1+1*19*1*f*3+1*19|a+9z*19*1b*1*3+1*19|7+xw*19*1a*1*3+1*19|6+1zc*19+f9*19*i+6*19|2+4n*19+5w*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*1*5*3+1*19|1+1*19*1*2*3+1*19|2+7m*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|1+y*19|2+2*0|1+1+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:12601":{"changeset":"Z:sac>3|2p=c7f=1l*19+3$ada","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672020384685}},"pad:accidental-tech:revs:12602":{"changeset":"Z:saf>4|2p=c7f=1o*19+4$ist 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, might be the strongest example\n\nII. Networks, Art Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future - rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies - from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable - that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|6+uk*19+3z*19*i+3*1g*i+1*19*i+5*19+4g*1g+1*19+14*1g+1*19+ad*19*i+3*1g*i+1*19*i+5*19|2+5p*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|8+1oi*19+i7*19*i+h*19+y*19*i+7*19|4+8a*19*1b*1*3+1*19|9+181*19*1*f*3+1*19|1+2l*19*1*f*3+1*19|1+78*19*1*f*3+1*19+3j*19*i+8*19+23*19*i+l*19+2p*19*i+l*19|1+33*19*1*f*3+1*19|1+8c*19*1*f*3+1*19|1+6i*19*1*f*3+1*19+3m*19*i+4*19|3+d4*19*1*f*3+1*19|1+1*19*1*f*3+1*19|8+ee*19*1b*1*3+1*19|7+xw*19*1a*1*3+1*19|6+1zc*19+f9*19*i+6*19|2+4n*19+5w*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*1*5*3+1*19|1+1*19*1*2*3+1*19|2+7m*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|1+y*19|2+2*0|1+1+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:12701":{"changeset":"Z:seo<1|36=ed7=43-1$","meta":{"author":"a.yg5Vzgv9ee2U9Imc","timestamp":1672046759419}},"pad:accidental-tech:revs:12702":{"changeset":"Z:sen>1|36=ed7=43*1g+1$—","meta":{"author":"a.yg5Vzgv9ee2U9Imc","timestamp":1672046760103}},"pad:accidental-tech:revs:12703":{"changeset":"Z:seo<1|36=ed7=44-1$","meta":{"author":"a.yg5Vzgv9ee2U9Imc","timestamp":1672046764434}},"pad:accidental-tech:revs:12704":{"changeset":"Z:sen<1|36=ed7=42-1$","meta":{"author":"a.yg5Vzgv9ee2U9Imc","timestamp":1672046765735}},"pad:accidental-tech:revs:12705":{"changeset":"Z:sem<2|36=ed7=qu-3*1g+1$—","meta":{"author":"a.yg5Vzgv9ee2U9Imc","timestamp":1672046771645}},"pad:accidental-tech:revs:12706":{"changeset":"Z:sek<2|38=fgp=41-3*1g+1$—","meta":{"author":"a.yg5Vzgv9ee2U9Imc","timestamp":1672046789075}},"pad:accidental-tech:revs:12707":{"changeset":"Z:sei>0|3a=g0p=5n*i=7$","meta":{"author":"a.yg5Vzgv9ee2U9Imc","timestamp":1672046800103}},"pad:accidental-tech:revs:12708":{"changeset":"Z:sei>1|2a=aay=96*19+1$ 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but concerns technologies only in the wider sense of social-psychic technologies.^[Some of its practices are nowadays continued in the ZE]\n\nII. Networks, Art Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but - with the exception of a random number computer program that generated a daily \"fuck list\" to concerns technologies only in a wider sense of socio-psychological technoiques.^[Today, some of its practices are continued in the ZEGG commune near Berlin which calls itself a social design project.] \n\nII. Networks, Art Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|6+uk*19+3z*19*i+3*1g*i+1*19*i+5*19+4g*1g+1*19+14*1g+1*19+ad*19*i+3*1g*i+1*19*i+5*19|2+5p*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|8+1oi*19+i7*19*i+h*19+y*19*i+7*19|4+8a*19*1b*1*3+1*19|9+1hn*19*1*f*3+1*19|1+2l*19*1*f*3+1*19|1+78*19*1*f*3+1*19+3j*19*i+8*19+23*19*i+l*19+2p*19*i+l*19|1+33*19*1*f*3+1*19|1+8c*19*1*f*3+1*19|1+6i*19*1*f*3+1*19+3m*19*i+4*19|3+d4*19*1*f*3+1*19|1+1*19*1*f*3+1*19|8+ee*19*1b*1*3+1*19|7+xw*19*1a*1*3+1*19|4+vq*19+42*1g+1*19+mr*1g+1*19|2+cn*19+41*1g+1*19+b5*19*i+6*19|2+4n*19+5n*19*i+7*19+2*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*1*5*3+1*19|1+1*19*1*2*3+1*19|2+7m*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|1+y*19|2+2*0|1+1+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:12901":{"changeset":"Z:so4<1|2a=aay=d5-1$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672090205492}},"pad:accidental-tech:revs:12902":{"changeset":"Z:so3>1|2a=aay=d4-1*19+2$ha","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672090205994}},"pad:accidental-tech:revs:12903":{"changeset":"Z:so4>5|2a=aay=d6*19+5$t 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but - with the exception of a computer program that computed a randomized daily \"fuck list\" to commune members from having traditional family relations - it concerned technologies only in the wider sense of socio-psychological techniques.^[Today, some of its practices are continued in the ZEGG commune near Berlin which calls itself a social design project.] It ran historically in parallel, and had some personal overlaps, with the \"Eternal Network\" \n\nII. Networks, Art Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|6+uk*19+3z*19*i+3*1g*i+1*19*i+5*19+4g*1g+1*19+14*1g+1*19+ad*19*i+3*1g*i+1*19*i+5*19|2+5p*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|8+1oi*19+i7*19*i+h*19+y*19*i+7*19|4+8a*19*1b*1*3+1*19|9+1lu*19*1*f*3+1*19|1+2l*19*1*f*3+1*19|1+78*19*1*f*3+1*19+3j*19*i+8*19+23*19*i+l*19+2p*19*i+l*19|1+33*19*1*f*3+1*19|1+8c*19*1*f*3+1*19|1+6i*19*1*f*3+1*19+3m*19*i+4*19|3+d4*19*1*f*3+1*19|1+1*19*1*f*3+1*19|8+ee*19*1b*1*3+1*19|7+xw*19*1a*1*3+1*19|4+vq*19+42*1g+1*19+mr*1g+1*19|2+cn*19+41*1g+1*19+b5*19*i+6*19|2+4n*19+5n*19*i+7*19+2*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*1*5*3+1*19|1+1*19*1*2*3+1*19|2+7m*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|1+y*19|2+2*0|1+1+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:13001":{"changeset":"Z:ssb>3|2a=aay=mz*19+3$of ","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672090831153}},"pad:accidental-tech:revs:13002":{"changeset":"Z:sse>2|2a=aay=n2*19+2$ma","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672090831653}},"pad:accidental-tech:revs:13003":{"changeset":"Z:ssg>3|2a=aay=n4*19+3$il ","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672090832155}},"pad:accidental-tech:revs:13004":{"changeset":"Z:ssj>0|2a=aay=n2-1*19+1$M","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672090833761}},"pad:accidental-tech:revs:13005":{"changeset":"Z:ssj>1|2a=aay=n7*19+1$A","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672090836962}},"pad:accidental-tech:revs:13006":{"changeset":"Z:ssk>4|2a=aay=n8*19+4$rt. 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Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it is debatable whether it resulted from the commune's socio-psychological technology engineering sense only by developing a computer program that computed a randomized daily \"fuck list\" to commune members from having traditional family relations. It ran historically in parallel, and had some personal overlaps, with the \"Eternal Network\" of Mail Art. \n\nII. Networks, Art Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|6+uk*19+3z*19*i+3*1g*i+1*19*i+5*19+4g*1g+1*19+14*1g+1*19+ad*19*i+3*1g*i+1*19*i+5*19|2+5p*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|8+1oi*19+i7*19*i+h*19+y*19*i+7*19|4+8a*19*1b*1*3+1*19|9+1j8*19*1*f*3+1*19|1+2l*19*1*f*3+1*19|1+78*19*1*f*3+1*19+3j*19*i+8*19+23*19*i+l*19+2p*19*i+l*19|1+33*19*1*f*3+1*19|1+8c*19*1*f*3+1*19|1+6i*19*1*f*3+1*19+3m*19*i+4*19|3+d4*19*1*f*3+1*19|1+1*19*1*f*3+1*19|8+ee*19*1b*1*3+1*19|7+xw*19*1a*1*3+1*19|4+vq*19+42*1g+1*19+mr*1g+1*19|2+cn*19+41*1g+1*19+b5*19*i+6*19|2+4n*19+5n*19*i+7*19+2*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*1*5*3+1*19|1+1*19*1*2*3+1*19|2+7m*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|1+y*19|2+2*0|1+1+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:13101":{"changeset":"Z:spp>1|2a=aay=ba*19+1$l","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672091019855}},"pad:accidental-tech:revs:13102":{"changeset":"Z:spq>4|2a=aay=bb*19+4$ogic","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672091020355}},"pad:accidental-tech:revs:13103":{"changeset":"Z:spu>4|2a=aay=bf*19+4$ally","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672091020859}},"pad:accidental-tech:revs:13104":{"changeset":"Z:spy>1|2a=aay=bj*19+1$ 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). The \"Eternal Network\" of Mail Art however, which had historical, aesthetic and some personal overlaps with the Muehl commune, \n\nII. Networks, Art Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\nThe \"Eternal Network\" of Mail Art however, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple issues on the level of its networking protocols \n\nII. Networks, Art Movements, Mail Art (centralisation -> decentralised -> distributed)\n\n*New York Correspondance School (NYCS) as the historically first social network/social medium\n*the subsequent history of Mail Art anticipated many if not most contemporary issues of digital social media: moderation/filtering, trolling, spamming/junk mail, spreading of Alt Right ideologies under the guise of cultural transgressiveness/edginess, etc.etc.\n*Mail Art was a direct precursor to online social media via Mail Art electronic BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|6+uk*19+3z*19*i+3*1g*i+1*19*i+5*19+4g*1g+1*19+14*1g+1*19+ad*19*i+3*1g*i+1*19*i+5*19|2+5p*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|8+1oi*19+i7*19*i+h*19+y*19*i+7*19|4+8a*19*1b*1*3+1*19|b+1nh*19*1*f*3+1*19|1+2l*19*1*f*3+1*19|1+78*19*1*f*3+1*19+3j*19*i+8*19+23*19*i+l*19+2p*19*i+l*19|1+33*19*1*f*3+1*19|1+8c*19*1*f*3+1*19|1+6i*19*1*f*3+1*19+3m*19*i+4*19|3+d4*19*1*f*3+1*19|1+1*19*1*f*3+1*19|8+ee*19*1b*1*3+1*19|7+xw*19*1a*1*3+1*19|4+vq*19+42*1g+1*19+mr*1g+1*19|2+cn*19+41*1g+1*19+b5*19*i+6*19|2+4n*19+5n*19*i+7*19+2*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*1*5*3+1*19|1+1*19*1*2*3+1*19|2+7m*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|1+y*19|2+2*0|1+1+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:13301":{"changeset":"Z:sty>1|2c=atg=5u*19+1$i","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672091434684}},"pad:accidental-tech:revs:13302":{"changeset":"Z:stz>4|2c=atg=5v*19+4$nfra","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672091435184}},"pad:accidental-tech:revs:13303":{"changeset":"Z:su3>4|2c=atg=5z*19+4$stru","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672091435687}},"pad:accidental-tech:revs:13304":{"changeset":"Z:su7>4|2c=atg=63*19+4$ctur","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672091436187}},"pad:accidental-tech:revs:13305":{"changeset":"Z:sub>4|2c=atg=67*19+4$e 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\nThe \"Eternal Network\" of Mail Art however, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Not only did it anticipate Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a nuberm of Mail Art electronic dial-up BBS systems in the 1980s and Mail Art boards on The Well (the electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|6+uk*19+3z*19*i+3*1g*i+1*19*i+5*19+4g*1g+1*19+14*1g+1*19+ad*19*i+3*1g*i+1*19*i+5*19|2+5p*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|8+1oi*19+i7*19*i+h*19+y*19*i+7*19|4+8a*19*1b*1*3+1*19|7+1eu*19+ed*19*i+8*19+23*19*i+l*19+2p*19*i+l*19|1+33*19*1*f*3*g+1*19|1+8c*19*1*f*3*h+1*19|1+6i*19*1*f*3*k+1*19+3m*19*i+4*19|3+d4*19*1*f*3+1*19|1+1*19*1*f*3+1*19|8+ee*19*1b*1*3+1*19|7+xw*19*1a*1*3+1*19|4+vq*19+42*1g+1*19+mr*1g+1*19|2+cn*19+41*1g+1*19+b5*19*i+6*19|2+4n*19+5n*19*i+7*19+2*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*1*5*3+1*19|1+1*19*1*2*3+1*19|2+7m*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|1+y*19|2+2*0|1+1+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:13401":{"changeset":"Z:sm9<2|2c=atg=d1-3*19+1$c","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672091552219}},"pad:accidental-tech:revs:13402":{"changeset":"Z:sm7>5|2c=atg=d2*19+5$omput","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672091552713}},"pad:accidental-tech:revs:13403":{"changeset":"Z:smc>3|2c=atg=d7*19+3$er 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Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\nThe \"Eternal Network\" of Mail Art however, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Not only did it anticipate Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a nuberm of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system and the U.S. American dial-up EchoNYC, The Well, the 1980s electronic message/discussion board created by Stewart Brand and his Whole Earth Catalogue publishing house in San Francisco, and whose historical account in Howard Rheingold's 1993 book The Virtual Community factually served as the blueprint for later large-scale social networks such as AOL, Friendster and Facebook)\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\nThe \"Eternal Network\" of Mail Art however, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Not only did it anticipate Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a nuberm of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system and the U.S. American dial-up computer discussion boards EchoNYC (New York) and The Well (San Francisco). The Well, created in the 1980s by Stewart Brand's Whole Earth Catalogue publishing house, had its historical account in Howard Rheingold's 1993 best-selling book The Virtual Community which later inspired the design of large-scale social networks such as AOL and Facebook.]\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art system.\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672092374082}},"pad:accidental-tech:revs:13617":{"changeset":"Z:sqs>o|2c=atg=s4*19+o$The \"Eternal Network\" of","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672092374783}},"pad:accidental-tech:revs:13618":{"changeset":"Z:srg<8b|2d=bm9=1-8b$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672092382299}},"pad:accidental-tech:revs:13619":{"changeset":"Z:sj5>8e|2c=atg=65*19|1+1*19*1*f*3+1*19|1+8c$\n*The NYCS accidentally prototyped social media, because its orginal aim was not to create an alternative system of mass communication, but - from Ray Johnson in the 1960s to Vittore Baroni in the 1980s - a self-organized, non-hierarchical, inclusive alternative to the [museum/curatorial] art 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When it ended up as \"The Eternanticipate Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York) and _The Well_ (San Francisco). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing house, had its historical account in Howard Rheingold's 1993 best-selling book _The Virtual Community_ which later inspired the design of large-scale social networks such as AOL and Facebook.] The \"Eternal Network\" of\n*\n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|6+uk*19+3z*19*i+3*1g*i+1*19*i+5*19+4g*1g+1*19+14*1g+1*19+ad*19*i+3*1g*i+1*19*i+5*19|2+5p*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|8+1oi*19+i7*19*i+h*19+y*19*i+7*19|4+8a*19*1b*1*3+1*19|7+1eu*19+qw*19*i+9*19+g*19*i+a*19+i*19*i+9*19+1*19*i+1*19+15*19*i+m*19+2k*19*i+n*19|1+37*19*1*f*3*g+1*19|1+1*19*1*f*3*h+1*19|1+6i*19*1*f*3*k+1*19+3m*19*i+4*19|3+d4*19*1*f*3+1*19|1+1*19*1*f*3+1*19|8+ee*19*1b*1*3+1*19|7+xw*19*1a*1*3+1*19|4+vq*19+42*1g+1*19+mr*1g+1*19|2+cn*19+41*1g+1*19+b5*19*i+6*19|2+4n*19+5n*19*i+7*19+2*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*1*5*3+1*19|1+1*19*1*2*3+1*19|2+7m*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|1+y*19|2+2*0|1+1+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:13701":{"changeset":"Z:sr5>3|2c=atg=el*19+3$al 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York) and _The Well_ (San Francisco). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing house, had its historical account in Howard Rheingold's 1993 best-selling book _The Virtual Community_ which later inspired the design of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of it \n \n \n*Conversely, the fixation on art (including postal exchange of art works/artefacts) is what held Mail Art back or marginalized it, because it became a low-entry system for people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|6+uk*19+3z*19*i+3*1g*i+1*19*i+5*19+4g*1g+1*19+14*1g+1*19+ad*19*i+3*1g*i+1*19*i+5*19|2+5p*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|8+1oi*19+i7*19*i+h*19+y*19*i+7*19|4+8a*19*1b*1*3+1*19|7+1eu*19+si*19*i+9*19+g*19*i+a*19+i*19*i+9*19+1*19*i+1*19+15*19*i+m*19+2k*19*i+n*19|3+4i*19*1*f*3*g+1*19|1+6i*19*1*f*3*h+1*19+3m*19*i+4*19|3+d4*19*1*f*3+1*19|1+1*19*1*f*3+1*19|8+ee*19*1b*1*3+1*19|7+xw*19*1a*1*3+1*19|4+vq*19+42*1g+1*19+mr*1g+1*19|2+cn*19+41*1g+1*19+b5*19*i+6*19|2+4n*19+5n*19*i+7*19+2*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*1*5*3+1*19|1+1*19*1*2*3+1*19|2+7m*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|1+y*19|2+2*0|1+1+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:13801":{"changeset":"Z:su0>5|2c=atg=13k*19+5$s 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York) and _The Well_ (San Francisco). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing house, had its historical account in Howard Rheingold's 1993 best-selling book _The Virtual Community_ which later inspired the design of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for being part of (self-organized) publications and exhibitions. Since Mail Artists had as their code of d\n \n people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York) and _The Well_ (San Francisco). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing house, had its historical account in Howard Rheingold's 1993 best-selling book _The Virtual Community_ which later inspired the design of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Since Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic c\n \n people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York) and _The Well_ (San Francisco). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing house, had its historical account in Howard Rheingold's 1993 best-selling book _The Virtual Community_ which later inspired the design of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Since Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zin\ne _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"\n\n\n people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|6+uk*19+3z*19*i+3*1g*i+1*19*i+5*19+4g*1g+1*19+14*1g+1*19+ad*19*i+3*1g*i+1*19*i+5*19|2+5p*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|8+1oi*19+i7*19*i+h*19+y*19*i+7*19|4+8a*19*1b*1*3+1*19|7+1eu*19+si*19*i+9*19+g*19*i+a*19+i*19*i+9*19+1*19*i+1*19+15*19*i+m*19+2k*19*i+n*19|5+p2*19*1*f*3*g+1*19+3m*19*i+4*19|3+d4*19*1*f*3+1*19|1+1*19*1*f*3+1*19|8+ee*19*1b*1*3+1*19|7+xw*19*1a*1*3+1*19|4+vq*19+42*1g+1*19+mr*1g+1*19|2+cn*19+41*1g+1*19+b5*19*i+6*19|2+4n*19+5n*19*i+7*19+2*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*1*5*3+1*19|1+1*19*1*2*3+1*19|2+7m*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|1+y*19|2+2*0|1+1+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:14101":{"changeset":"Z:t81>3|2d=cd1=2u*19+3$hap","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672093057675}},"pad:accidental-tech:revs:14102":{"changeset":"Z:t84>3|2d=cd1=2x*19+3$py ","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672093058175}},"pad:accidental-tech:revs:14103":{"changeset":"Z:t87>4|2d=cd1=30*19+4$merc","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672093058678}},"pad:accidental-tech:revs:14104":{"changeset":"Z:t8b>3|2d=cd1=34*19+3$han","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672093059179}},"pad:accidental-tech:revs:14105":{"changeset":"Z:t8e>1|2d=cd1=37*19+1$t","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672093059679}},"pad:accidental-tech:revs:14106":{"changeset":"Z:t8f>3|2d=cd1=38*19+3$\". 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York) and _The Well_ (San Francisco). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing house, had its historical account in Howard Rheingold's 1993 best-selling book _The Virtual Community_ which later inspired the design of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. \n \n Since Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". It also included projects \n\n\n people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York) and _The Well_ (San Francisco). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing house, had its historical account in Howard Rheingold's 1993 best-selling book _The Virtual Community_ which later inspired the design of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. \n \n Since Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time, was seen as transgressive irony, but whose underlying motives seem dubious if one reads Smith's \n\n\n people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|6+uk*19+3z*19*i+3*1g*i+1*19*i+5*19+4g*1g+1*19+14*1g+1*19+ad*19*i+3*1g*i+1*19*i+5*19|2+5p*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|8+1oi*19+i7*19*i+h*19+y*19*i+7*19|4+8a*19*1b*1*3+1*19|7+1eu*19+si*19*i+9*19+g*19*i+a*19+i*19*i+9*19+1*19*i+1*19+15*19*i+m*19+2k*19*i+n*19|6+w7*19*1*f*3*g+1*19+3m*19*i+4*19|3+d4*19*1*f*3+1*19|1+1*19*1*f*3+1*19|8+ee*19*1b*1*3+1*19|7+xw*19*1a*1*3+1*19|4+vq*19+42*1g+1*19+mr*1g+1*19|2+cn*19+41*1g+1*19+b5*19*i+6*19|2+4n*19+5n*19*i+7*19+2*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*1*5*3+1*19|1+1*19*1*2*3+1*19|2+7m*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|1+y*19|2+2*0|1+1+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:14301":{"changeset":"Z:tf6>2|2e=c2v=k5*19+2$po","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672093780618}},"pad:accidental-tech:revs:14302":{"changeset":"Z:tf8>2|2e=c2v=k7*19+2$li","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672093781119}},"pad:accidental-tech:revs:14303":{"changeset":"Z:tfa<3|2e=c2v=k5-4*19+1$s","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672093788639}},"pad:accidental-tech:revs:14304":{"changeset":"Z:tf7<1|2e=c2v=k5-1$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672093789338}},"pad:accidental-tech:revs:14305":{"changeset":"Z:tf6>1|2e=c2v=k5*19+1$p","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672093789840}},"pad:accidental-tech:revs:14306":{"changeset":"Z:tf7>5|2e=c2v=k6*19+5$erson","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672093790339}},"pad:accidental-tech:revs:14307":{"changeset":"Z:tfc>3|2e=c2v=kb*19+3$al ","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672093790839}},"pad:accidental-tech:revs:14308":{"changeset":"Z:tff>2|2e=c2v=ke*19+2$st","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672093791340}},"pad:accidental-tech:revs:14309":{"changeset":"Z:tfh>4|2e=c2v=kg*19+4$atem","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672093791843}},"pad:accidental-tech:revs:14310":{"changeset":"Z:tfl>3|2e=c2v=kk*19+3$ent","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672093792344}},"pad:accidental-tech:revs:14311":{"changeset":"Z:tfo>3|2e=c2v=kn*19+3$s. 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York) and _The Well_ (San Francisco). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing house, had its historical account in Howard Rheingold's 1993 best-selling book _The Virtual Community_ which later inspired the design of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. \n \n Since Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time, was seen as playful transgression, but whose underlying motives seem more dubious if one reads Smith's personal comments - that she rediscovered Hitler's _Mein Kampf_ when she critically thought about capitalism and a housing crisi. \n\n\n people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York) and _The Well_ (San Francisco). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing house, had its historical account in Howard Rheingold's 1993 best-selling book _The Virtual Community_ which later inspired the design of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. \n \n Since Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included transgreprojects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time, was seen as playful transgression, but whose underlying motives seem more dubious if one reads Smith's personal comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, quoted in: Oldanburg, Klaos. “Plagiarism, Culture, Mass Media.” _Plagiarism: Art as Commodity and Strategies for Its Negation_. Ed. Stewart Home. London: Aporia Press, 1988, p. 15.] \n\n\n people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|6+uk*19+3z*19*i+3*1g*i+1*19*i+5*19+4g*1g+1*19+14*1g+1*19+ad*19*i+3*1g*i+1*19*i+5*19|2+5p*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|8+1oi*19+i7*19*i+h*19+y*19*i+7*19|4+8a*19*1b*1*3+1*19|7+1eu*19+si*19*i+9*19+g*19*i+a*19+i*19*i+9*19+1*19*i+1*19+15*19*i+m*19+2k*19*i+n*19|6+1co*19*1*f*3*g+1*19+3m*19*i+4*19|3+d4*19*1*f*3+1*19|1+1*19*1*f*3+1*19|8+ee*19*1b*1*3+1*19|7+xw*19*1a*1*3+1*19|4+vq*19+42*1g+1*19+mr*1g+1*19|2+cn*19+41*1g+1*19+b5*19*i+6*19|2+4n*19+5n*19*i+7*19+2*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*1*5*3+1*19|1+1*19*1*2*3+1*19|2+7m*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|1+y*19|2+2*0|1+1+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:14501":{"changeset":"Z:tvn>5|2e=c2v=es*19+5$ssive","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672095601100}},"pad:accidental-tech:revs:14502":{"changeset":"Z:tvs>1|2e=c2v=ex*19+1$ 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York) and _The Well_ (San Francisco). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing house, had its historical account in Howard Rheingold's 1993 best-selling book _The Virtual Community_ which later inspired the design of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini \n \nSince Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included transgressive projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time and by fellow artists, was seen as parodistic, but whose motives seem more dubious if one reads up Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, quoted in: Oldanburg, Klaos. “Plagiarism, Culture, Mass Media.” _Plagiarism: Art as Commodity and Strategies for Its Negation_. Ed. Stewart Home. London: Aporia Press, 1988, p. 15.] \n\n\n people who ultimately sought to have some sort of art career. \n*See (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York) and _The Well_ (San Francisco). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing house, had its historical account in Howard Rheingold's 1993 best-selling book _The Virtual Community_ which later inspired the design of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous stickers that advertised his artist career. \n \nSince Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included transgressive projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time and by fellow artists, was seen as parodistic, but whose motives seem more dubious if one reads up Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, quoted in: Oldanburg, Klaos. “Plagiarism, Culture, Mass Media.” _Plagiarism: Art as Commodity and Strategies for Its Negation_. Ed. Stewart Home. London: Aporia Press, 1988, p. 15.] \n\nThe (anarchist) Bob Black's comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York) and _The Well_ (San Francisco). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing house, had its historical account in Howard Rheingold's 1993 best-selling book _The Virtual Community_ which later inspired the design of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous stickers that advertised his artist career. \n \nSince Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included transgressive projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time and by fellow artists, was seen as parodistic, but whose motives seem more dubious if one reads up Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, quoted in: Oldanburg, Klaos. “Plagiarism, Culture, Mass Media.” _Plagiarism: Art as Commodity and Strategies for Its Negation_. Ed. Stewart Home. London: Aporia Press, 1988, p. 15.] \n\nIn retrospect, spamming, trolling, and political phenomena like the \"Alternative Right\" (\"Alt-Right\") were anticipated in \"The Eternal Network\n\nThe anarchist theorist Bob Black comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|6+uk*19+3z*19*i+3*1g*i+1*19*i+5*19+4g*1g+1*19+14*1g+1*19+ad*19*i+3*1g*i+1*19*i+5*19|2+5p*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|8+1oi*19+i7*19*i+h*19+y*19*i+7*19|4+8a*19*1b*1*3+1*19|7+1eu*19+si*19*i+9*19+g*19*i+a*19+i*19*i+9*19+1*19*i+1*19+15*19*i+m*19+2k*19*i+n*19|6+1m8*19+3r*19*i+4*19|3+d4*19*1*f*3+1*19|1+1*19*1*f*3+1*19|8+ee*19*1b*1*3+1*19|7+xw*19*1a*1*3+1*19|4+vq*19+42*1g+1*19+mr*1g+1*19|2+cn*19+41*1g+1*19+b5*19*i+6*19|2+4n*19+5n*19*i+7*19+2*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*1*5*3+1*19|1+1*19*1*2*3+1*19|2+7m*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|1+y*19|2+2*0|1+1+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:14801":{"changeset":"Z:u5b>3|2g=daw=3y*19+3$\". 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York) and _The Well_ (San Francisco). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing house, had its historical account in Howard Rheingold's 1993 best-selling book _The Virtual Community_ which later inspired the design of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous stickers that advertised his artist career. \n \nSince Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included transgressive projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time and by fellow artists, was seen as parodistic, but whose motives seem more dubious if one reads up Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, quoted in: Oldanburg, Klaos. “Plagiarism, Culture, Mass Media.” _Plagiarism: Art as Commodity and Strategies for Its Negation_. Ed. Stewart Home. London: Aporia Press, 1988, p. 15.] \n\nIn retrospect, spamming, trolling, and political subcultures like the \"Alternative Right\" (\"Alt-Right\") were forecasted in \"The Eternal Network\". InThe anarchist theorist Bob Black comparison of Mail Art to Paralympics as opposed to the Olympics of the established art system: it is not a radically different or radically inclusive system, but only one that works with a different reward system (quantity/regularity/endurance of participation as opposed to quality of contributions); see also Craig A. Saper characterization of Mail Art as \"intimate bureaucracies\" (i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|6+uk*19+3z*19*i+3*1g*i+1*19*i+5*19+4g*1g+1*19+14*1g+1*19+ad*19*i+3*1g*i+1*19*i+5*19|2+5p*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|8+1oi*19+i7*19*i+h*19+y*19*i+7*19|4+8a*19*1b*1*3+1*19|7+1eu*19+si*19*i+9*19+g*19*i+a*19+i*19*i+9*19+1*19*i+1*19+15*19*i+m*19+2k*19*i+n*19|4+1i8*19+7v*19*i+4*19|3+d4*19*1*f*3+1*19|1+1*19*1*f*3+1*19|8+ee*19*1b*1*3+1*19|7+xw*19*1a*1*3+1*19|4+vq*19+42*1g+1*19+mr*1g+1*19|2+cn*19+41*1g+1*19+b5*19*i+6*19|2+4n*19+5n*19*i+7*19+2*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*1*5*3+1*19|1+1*19*1*2*3+1*19|2+7m*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|1+y*19|2+2*0|1+1+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:14901":{"changeset":"Z:u5f>2|2g=daw=44*19+2$, 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York) and _The Well_ (San Francisco). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing house, had its historical account in Howard Rheingold's 1993 best-selling book _The Virtual Community_ which later inspired the design of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous stickers that advertised his artist career. \n \nSince Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included transgressive projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time and by fellow artists, was seen as parodistic, but whose motives seem more dubious if one reads up Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, quoted in: Oldanburg, Klaos. “Plagiarism, Culture, Mass Media.” _Plagiarism: Art as Commodity and Strategies for Its Negation_. Ed. Stewart Home. London: Aporia Press, 1988, p. 15.] \n\nIn retrospect, spamming, trolling, and political subcultures like the \"Alternative Right\" (\"Alt-Right\") were forecasted in \"The Eternal Network\". In his 2001 book _Networked Art_, Craig A. Saper characterized Mail Art practice as \"intimate bureaucracies\" in which artists effectively turned themselves into administrative network operators or, as one could say in today's terminology\n\n(i.e. micro-bureaucracies of Mail Art participants acting as mail operators) -> Is this a link to Display Distribute? (Is Light Logistics an intimate bureaucracy?)\n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|6+uk*19+3z*19*i+3*1g*i+1*19*i+5*19+4g*1g+1*19+14*1g+1*19+ad*19*i+3*1g*i+1*19*i+5*19|2+5p*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|8+1oi*19+i7*19*i+h*19+y*19*i+7*19|4+8a*19*1b*1*3+1*19|7+1eu*19+si*19*i+9*19+g*19*i+a*19+i*19*i+9*19+1*19*i+1*19+15*19*i+m*19+2k*19*i+n*19|9+1yb*19*1*f*3+1*19|1+1*19*1*f*3+1*19|8+ee*19*1b*1*3+1*19|7+xw*19*1a*1*3+1*19|4+vq*19+42*1g+1*19+mr*1g+1*19|2+cn*19+41*1g+1*19+b5*19*i+6*19|2+4n*19+5n*19*i+7*19+2*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*1*5*3+1*19|1+1*19*1*2*3+1*19|2+7m*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|1+y*19|2+2*0|1+1+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:15001":{"changeset":"Z:u0f>3|2g=daw=an*19+3$, s","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672097924766}},"pad:accidental-tech:revs:15002":{"changeset":"Z:u0i>2|2g=daw=aq*19+2$ys","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672097925265}},"pad:accidental-tech:revs:15003":{"changeset":"Z:u0k>3|2g=daw=as*19+3$adm","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672097925766}},"pad:accidental-tech:revs:15004":{"changeset":"Z:u0n>3|2g=daw=av*19+3$i8n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672097926266}},"pad:accidental-tech:revs:15005":{"changeset":"Z:u0q>1|2g=daw=9g*19+1$(","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672097929473}},"pad:accidental-tech:revs:15006":{"changeset":"Z:u0r4|2g=daw=9m*19+4$o pu","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672097932680}},"pad:accidental-tech:revs:15008":{"changeset":"Z:u0g>1|2g=daw=9q*19+1$t","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672097933180}},"pad:accidental-tech:revs:15009":{"changeset":"Z:u0h>1|2g=daw=9u*19+1$t","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672097934281}},"pad:accidental-tech:revs:15010":{"changeset":"Z:u0i>1|2g=daw=9v*19+1$o","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672097934782}},"pad:accidental-tech:revs:15011":{"changeset":"Z:u0j<1|2g=daw=aq-1$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672097935915}},"pad:accidental-tech:revs:15012":{"changeset":"Z:u0i>1|2g=daw=ap-1*19+2$ns","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672097936519}},"pad:accidental-tech:revs:15013":{"changeset":"Z:u0j>1|2g=daw=ar*19+1$)","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672097937019}},"pad:accidental-tech:revs:15014":{"changeset":"Z:u0k>2|2g=daw=as*19+2$. 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U of Minnesota Press, 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York) and _The Well_ (San Francisco). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing house, had its historical account in Howard Rheingold's 1993 best-selling book _The Virtual Community_ which later inspired the design of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous stickers that advertised his artist career. \n \nSince Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included transgressive projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time and by fellow artists, was seen as parodistic, but whose motives seem more dubious if one reads up Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, \"Corpse Club\", in: Banana, Anna. _About VILE_. Vancouver: Banana Productions, 1983, p. 59-60.] \n\nIn retrospect, spamming, trolling, and political subcultures like the \"Alternative Right\" (\"Alt-Right\") were forecasted in \"The Eternal Network\". In his 2001 book _Networked Art_, Craig A. Saper characterized Mail Art practice as \"intimate bureaucracies\" in which artists effectively turned themselves into administrative network operators (or, in today's terminology: sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001.] Network administration effectively \n\n\n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York) and _The Well_ (San Francisco). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing house, had its historical account in Howard Rheingold's 1993 best-selling book _The Virtual Community_ which later inspired the design of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous stickers that advertised his artist career. \n \nSince Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included transgressive projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time and by fellow artists, was seen as parodistic, but whose motives seem more dubious if one reads up Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, \"Corpse Club\", in: Banana, Anna. _About VILE_. Vancouver: Banana Productions, 1983, p. 59-60.] \n\nIn retrospect, spamming, trolling, and political subcultures like the \"Alternative Right\" (\"Alt-Right\") were forecasted in \"The Eternal Network\". In his 2001 book _Networked Art_, Craig A. Saper characterized Mail Art practice as \"intimate bureaucracies\" in which artists effectively turned themselves into administrative network operators (or, in today's terminology: sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001.] Network administration means to cope with accidents, and catastrophes, in real-time, especially when - like in Mail Art, or in internet social media - the network is simultaneously carrier of information and tinformation itself. \n\n\n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|6+uk*19+3z*19*i+3*1g*i+1*19*i+5*19+4g*1g+1*19+14*1g+1*19+ad*19*i+3*1g*i+1*19*i+5*19|2+5p*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|8+1oi*19+i7*19*i+h*19+y*19*i+7*19|4+8a*19*1b*1*3+1*19|7+1eu*19+si*19*i+9*19+g*19*i+a*19+i*19*i+9*19+1*19*i+1*19+15*19*i+m*19+2k*19*i+n*19|4+1ft*19+6e*19*1h+o*19+41*19*i+e*19|5+8f*19*1*f*3+1*19|1+1*19*1*f*3+1*19|8+ee*19*1b*1*3+1*19|7+xw*19*1a*1*3+1*19|4+vq*19+42*1g+1*19+mr*1g+1*19|2+cn*19+41*1g+1*19+b5*19*i+6*19|2+4n*19+5n*19*i+7*19+2*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*1*5*3+1*19|1+1*19*1*2*3+1*19|2+7m*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|1+y*19|2+2*0|1+1+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:15201":{"changeset":"Z:u1t>3|2g=d8h=ie*19+3$he 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York) and _The Well_ (San Francisco). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing house, had its historical account in Howard Rheingold's 1993 best-selling book _The Virtual Community_ which later inspired the design of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous stickers that advertised his artist career. \n \nSince Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included transgressive projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time and by fellow artists, was seen as parodistic, but whose motives seem more dubious if one reads up Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, \"Corpse Club\", in: Banana, Anna. _About VILE_. Vancouver: Banana Productions, 1983, p. 59-60.] \n\nIn retrospect, spamming, trolling, and political subcultures like the \"Alternative Right\" (\"Alt-Right\") were forecasted in \"The Eternal Network\". In his 2001 book _Networked Art_, Craig A. Saper characterized Mail Art practice as \"intimate bureaucracies\" in which artists effectively turned themselves into administrative network operators (or, in today's terminology: sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001.] Network administration means to cope with accidents, and catastrophes, in real-time, especially when - like in Mail Art, or in internet social media - the network is simultaneously the information carrier and, at least to some degree, the information itself. Pauline Smith's apartment was raided by the police in 1976, in the sam shortly before her fellow London mail artist Genesis P-Orridge\n\n\n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|6+uk*19+3z*19*i+3*1g*i+1*19*i+5*19+4g*1g+1*19+14*1g+1*19+ad*19*i+3*1g*i+1*19*i+5*19|2+5p*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|8+1oi*19+i7*19*i+h*19+y*19*i+7*19|4+8a*19*1b*1*3+1*19|7+1eu*19+si*19*i+9*19+g*19*i+a*19+i*19*i+9*19+1*19*i+1*19+15*19*i+m*19+2k*19*i+n*19|4+1ft*19+6e*19*1h+o*19+41*19*i+e*19|5+cx*19*1*f*3+1*19|1+1*19*1*f*3+1*19|8+ee*19*1b*1*3+1*19|7+xw*19*1a*1*3+1*19|4+vq*19+42*1g+1*19+mr*1g+1*19|2+cn*19+41*1g+1*19+b5*19*i+6*19|2+4n*19+5n*19*i+7*19+2*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*1*5*3+1*19|1+1*19*1*2*3+1*19|2+7m*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|1+y*19|2+2*0|1+1+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:15301":{"changeset":"Z:u6b>4|2g=d8h=lq*19+4$e 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York) and _The Well_ (San Francisco). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing house, had its historical account in Howard Rheingold's 1993 best-selling book _The Virtual Community_ which later inspired the design of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous stickers that advertised his artist career. \n \nSince Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included transgressive projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time and by fellow artists, was seen as parodistic, but whose motives seem more dubious if one reads up Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, \"Corpse Club\", in: Banana, Anna. _About VILE_. Vancouver: Banana Productions, 1983, p. 59-60.] \n\nIn retrospect, spamming, trolling, and political subcultures like the \"Alternative Right\" (\"Alt-Right\") were forecasted in \"The Eternal Network\". In his 2001 book _Networked Art_, Craig A. Saper characterized Mail Art practice as \"intimate bureaucracies\" in which artists effectively turned themselves into administrative network operators (or, in today's terminology: sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001.] Network administration means to cope with accidents, and catastrophes, in real-time, especially when - like in Mail Art, or in internet social media - the network is simultaneously the information carrier and, at least to some degree, the information itself. Pauline Smith's apartment was raided by the police in 1976, in the same year when her London collaborator and fellow mail artist Genesis P-Orridge was put on trial for using pornographic images on postcards. In both cases, it is difficult to state whether (a) the techno\n\n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York) and _The Well_ (San Francisco). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing house, had its historical account in Howard Rheingold's 1993 best-selling book _The Virtual Community_ which later inspired the design of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous stickers that advertised his artist career. \n \nSince Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included transgressive projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time and by fellow artists, was seen as parodistic, but whose motives seem more dubious if one reads up Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, \"Corpse Club\", in: Banana, Anna. _About VILE_. Vancouver: Banana Productions, 1983, p. 59-60.] \n\nIn retrospect, spamming, trolling, and political subcultures like the \"Alternative Right\" (\"Alt-Right\") were forecasted in \"The Eternal Network\". In his 2001 book _Networked Art_, Craig A. Saper characterized Mail Art practice as \"intimate bureaucracies\" in which artists effectively turned themselves into administrative network operators (or, in today's terminology: sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001.] Network administration means to cope with accidents, and catastrophes, in real-time, especially when - like in Mail Art, or in internet social media - the network is simultaneously the information carrier and, at least to some degree, the information itself. Pauline Smith's apartment was raided by the police in 1976, in the same year when her London collaborator and fellow mail artist Genesis P-Orridge was put on trial for using pornographic images on postcards. In both cases, it is difficult to state whether (a) the \"Eternal Network's\" pre-digital social networking produced, out of its own dyn accidents in its collision with state authority and regulations, \n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York) and _The Well_ (San Francisco). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing company, became historicized in Howard Rheingold's 1993 best-selling book _The Virtual Community_. The book later inspired the design of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous stickers that advertised his artist career. \n \nSince Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included transgressive projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time and by fellow artists, was seen as parodistic, but whose motives seem more dubious if one reads up Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, \"Corpse Club\", in: Banana, Anna. _About VILE_. Vancouver: Banana Productions, 1983, p. 59-60.] \n\nIn retrospect, spamming, trolling, and political subcultures like the \"Alternative Right\" (\"Alt-Right\") were forecasted in \"The Eternal Network\". In his 2001 book _Networked Art_, Craig A. Saper characterized Mail Art practice as \"intimate bureaucracies\" in which artists effectively turned themselves into administrative network operators (or, in today's terminology: sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001.] Network administration means to cope with accidents, and catastrophes, in real-time, especially when - like in Mail Art, or in internet social media - the network is simultaneously the information carrier and, at least to some degree, the information itself. Pauline Smith's apartment was raided by the police in 1976, in the same year when her London collaborator and fellow mail artist Genesis P-Orridge was put on trial for using pornographic images on postcards. In both cases, it is difficult to state whether the \"Eternal Network's\" pre-digital social networking had _created_ accidents or _was_ the accident itself. \n\nThe same question \n\n\nor _produced, out of its own dynamic, accidents in its collision with state authority and regulations; since the \n\nvs. technological accidents:\n*\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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The book later inspired the designs of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. 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The book later inspired the designs of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous stickers that advertise\n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672102994445}},"pad:accidental-tech:revs:15659":{"changeset":"Z:uk0>1|2c=atg=xd*19+1$ ","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672102994943}},"pad:accidental-tech:revs:15660":{"changeset":"Z:uk1<8|2c=atg=x5-9*19+1$E","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672102996747}},"pad:accidental-tech:revs:15661":{"changeset":"Z:ujt>4|2c=atg=x6*19+4$ugen","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672102997246}},"pad:accidental-tech:revs:15662":{"changeset":"Z:ujx>2|2c=atg=xa*19+2$e ","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672102997746}},"pad:accidental-tech:revs:15663":{"changeset":"Z:ujz<6|2c=atg=x5-7*19+1$t","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672102999250}},"pad:accidental-tech:revs:15664":{"changeset":"Z:ujt>3|2c=atg=x6*19+3$he ","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672102999751}},"pad:accidental-tech:revs:15665":{"changeset":"Z:ujw>2|2c=atg=x9*19+2$Ma","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672103000253}},"pad:accidental-tech:revs:15666":{"changeset":"Z:ujy>3|2c=atg=xb*19+3$il ","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672103000752}},"pad:accidental-tech:revs:15667":{"changeset":"Z:uk1>1|2c=atg=xe*19+1$A","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672103001252}},"pad:accidental-tech:revs:15668":{"changeset":"Z:uk2>3|2c=atg=xf*19+3$rt ","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672103001754}},"pad:accidental-tech:revs:15669":{"changeset":"Z:uk5>5|2c=atg=xi-ly*19+8*19*i+9*19+1*19*i+1*19+15*19*i+m*19+2f*19*i+o*19|1+gq$maga). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing company, became historicized in Howard Rheingold's 1993 best-selling book _The Virtual Community_. The book later inspired the designs of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. 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The book later inspired the designs of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system (through the MontrĂ©al-based group _SociĂšte de Conservation du PrĂ©sent_) and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York, through the Mail Artist Mark Bloch) and _The Well_ (San Francisco, through the periodical Artcom). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing company, became historicized in Howard Rheingold's 1993 best-selling book _The Virtual Community_. The book later inspired the designs of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous stickers that advertised his artist career. \n \nSince Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included transgressive projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time and by fellow artists, was seen as parodistic, but whose motives seem more dubious if one reads up Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, \"Corpse Club\", in: Banana, Anna. _About VILE_. Vancouver: Banana Productions, 1983, p. 59-60.] \n\nIn retrospect, spamming, trolling, and political subcultures like the \"Alternative Right\" (\"Alt-Right\") were forecasted in \"The Eternal Network\". In his 2001 book _Networked Art_, Craig A. Saper characterized Mail Art practice as \"intimate bureaucracies\" in which artists effectively turned themselves into administrative network operators (or, in today's terminology: sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001.] Network administration means to cope with accidents, and catastrophes, in real-time, especially when - like in Mail Art, or in internet social media - the network is simultaneously the information carrier and, at least to some degree, the information itself. Pauline Smith's apartment was raided by the police in 1976, in the same year when her London collaborator and fellow mail artist Genesis P-Orridge was put on trial for using pornographic images on postcards. In both cases, it is difficult to state whether the \"Eternal Network's\" pre-digital social networking had _created_ accidents or _was_ the accident itself. \n\nThis question became even more u \n\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system (through the MontrĂ©al-based group _SociĂšte de Conservation du PrĂ©sent_) and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York, through the Mail Artist Mark Bloch) and _The Well_ (San Francisco, through the periodical Artcom). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing company, became historicized in Howard Rheingold's 1993 best-selling book _The Virtual Community_. The book later inspired the designs of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous stickers that advertised his artist career. \n \nSince Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included transgressive projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time and by fellow artists, was seen as parodistic, but whose motives seem more dubious if one reads up Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, \"Corpse Club\", in: Banana, Anna. _About VILE_. Vancouver: Banana Productions, 1983, p. 59-60.] \n\nIn retrospect, spamming, trolling, and political subcultures like the \"Alternative Right\" (\"Alt-Right\") were forecasted in \"The Eternal Network\". In his 2001 book _Networked Art_, Craig A. Saper characterized Mail Art practice as \"intimate bureaucracies\" in which artists effectively turned themselves into administrative network operators (or, in today's terminology: sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001.] Network administration means to cope with accidents, and catastrophes, in real-time, especially when - like in Mail Art, or in internet social media - the network is simultaneously the information carrier and, at least to some degree, the information itself. Pauline Smith's apartment was raided by the police in 1976, in the same year when her London collaborator and fellow mail artist Genesis P-Orridge was put on trial for using pornographic images on postcards. In both cases, it is difficult to state whether the \"Eternal Network's\" pre-digital social networking had _created_ accidents or _was_ the accident itself. \n\nThis question became even more difficult to answer when network bureaucracies became algorithmic, and when operawho worked in the matter of Shio replaced by bots. \n\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system (through the MontrĂ©al-based group _SociĂšte de Conservation du PrĂ©sent_) and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York, through the Mail Artist Mark Bloch) and _The Well_ (San Francisco, through the periodical Artcom). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing company, became historicized in Howard Rheingold's 1993 best-selling book _The Virtual Community_. The book later inspired the designs of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous stickers that advertised his artist career. \n \nSince Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included transgressive projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time and by fellow artists, was seen as parodistic, but whose motives seem more dubious if one reads up Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, \"Corpse Club\", in: Banana, Anna. _About VILE_. Vancouver: Banana Productions, 1983, p. 59-60.] \n\nIn retrospect, spamming, trolling, and political subcultures like the \"Alternative Right\" (\"Alt-Right\") were forecasted in \"The Eternal Network\". In his 2001 book _Networked Art_, Craig A. Saper characterized Mail Art practice as \"intimate bureaucracies\" in which artists effectively turned themselves into administrative network operators (or, in today's terminology: sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001.] Network administration means to cope with accidents, and catastrophes, in real-time, especially when - like in Mail Art, or in internet social media - the network is simultaneously the information carrier and, at least to some degree, the information itself. Pauline Smith's apartment was raided by the police in 1976, in the same year when her London collaborator and fellow mail artist Genesis P-Orridge was put on trial for using pornographic images on postcards. In both cases, it is difficult to state whether the \"Eternal Network's\" pre-digital social networking had _created_ accidents or _was_ the accident itself. \n\nThis question became even more difficult to answer when network bureaucracies became algorithmic regimes, and when the Eternal Network operators who worked in the manner of Mieko Shiomi and others - designing prompts, dispatching them and putting the feedback together - were replaced by bots. \n\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|6+uk*19+3z*19*i+3*1g*i+1*19*i+5*19+4g*1g+1*19+14*1g+1*19+ad*19*i+3*1g*i+1*19*i+5*19|2+5p*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|8+1oi*19+i7*19*i+h*19+y*19*i+7*19|4+8a*19*1b*1*3+1*19|7+1eu*19+ui*19*i+9*19+1g*19*i+a*19+1d*19*i+9*19+1*19*i+1*19+15*19*i+m*19+2f*19*i+o*19|4+1fx*19+6e*19*1h+o*19+41*19*i+e*19|4+qr*19*1*f*3*g+1*19|8+ee*19*1b*1*3+1*19|7+xw*19*1a*1*3+1*19|4+vq*19+42*1g+1*19+mr*1g+1*19|2+cn*19+41*1g+1*19+b5*19*i+6*19|2+4n*19+5n*19*i+7*19+2*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*1*5*3+1*19|1+1*19*1*2*3+1*19|2+7m*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|1+y*19|2+2*0|1+1+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:15901":{"changeset":"Z:uny<1|2i=e6a=5s-1$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672103349801}},"pad:accidental-tech:revs:15902":{"changeset":"Z:unx>1|2i=e6a=5s*19+1$ 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system (through the MontrĂ©al-based group _SociĂšte de Conservation du PrĂ©sent_) and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York, through the Mail Artist Mark Bloch) and _The Well_ (San Francisco, through the periodical Artcom). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing company, became historicized in Howard Rheingold's 1993 best-selling book _The Virtual Community_. The book later inspired the designs of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous stickers that advertised his artist career. \n \nSince Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included transgressive projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time and by fellow artists, was seen as parodistic, but whose motives seem more dubious if one reads up Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, \"Corpse Club\", in: Banana, Anna. _About VILE_. Vancouver: Banana Productions, 1983, p. 59-60.] \n\nIn retrospect, spamming, trolling, and political subcultures like the \"Alternative Right\" (\"Alt-Right\") were forecasted in \"The Eternal Network\". In his 2001 book _Networked Art_, Craig A. Saper characterized Mail Art practice as \"intimate bureaucracies\" in which artists effectively turned themselves into administrative network operators (or, in today's terminology: sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001.] Network administration means to cope with accidents, and catastrophes, in real-time, especially when - like in Mail Art, or in internet social media - the network is simultaneously the information carrier and, at least to some degree, the information itself. Pauline Smith's apartment was raided by the police in 1976, in the same year when her London collaborator and fellow mail artist Genesis P-Orridge was put on trial for using pornographic images on postcards. In both cases, it is difficult to state whether the \"Eternal Network's\" pre-digital social networking had _created_ accidents or _was_ the accident itself. \n\nThis question became even more difficult to answer when network bureaucracies became algorithmic regimes, and when the Eternal Network operators who worked in the manner of Mieko Shiomi and others - designing and dispatching prompts, assembling the feedback - were replaced by bots. In March 2016, Microsoft's research division launched _Tay_, an AI bot on Twitter. As opposed to other Deep Learning systems, this bot had not gone through a complete \n\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system (through the MontrĂ©al-based group _SociĂšte de Conservation du PrĂ©sent_) and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York, through the Mail Artist Mark Bloch) and _The Well_ (San Francisco, through the periodical Artcom). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing company, became historicized in Howard Rheingold's 1993 best-selling book _The Virtual Community_. The book later inspired the designs of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous stickers that advertised his artist career. \n \nSince Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included transgressive projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time and by fellow artists, was seen as parodistic, but whose motives seem more dubious if one reads up Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, \"Corpse Club\", in: Banana, Anna. _About VILE_. Vancouver: Banana Productions, 1983, p. 59-60.] \n\nIn retrospect, spamming, trolling, and political subcultures like the \"Alternative Right\" (\"Alt-Right\") were forecasted in \"The Eternal Network\". In his 2001 book _Networked Art_, Craig A. Saper characterized Mail Art practice as \"intimate bureaucracies\" in which artists effectively turned themselves into administrative network operators (or, in today's terminology: sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001.] Network administration means to cope with accidents, and catastrophes, in real-time, especially when - like in Mail Art, or in internet social media - the network is simultaneously the information carrier and, at least to some degree, the information itself. Pauline Smith's apartment was raided by the police in 1976, in the same year when her London collaborator and fellow mail artist Genesis P-Orridge was put on trial for using pornographic images on postcards. In both cases, it is difficult to state whether the \"Eternal Network's\" pre-digital social networking had _created_ accidents or _was_ the accident itself. \n\nThis question became even more difficult to answer when network bureaucracies became algorithmic regimes, and when the Eternal Network operators who worked in the manner of Mieko Shiomi and others - designing and dispatching prompts, assembling the feedback - were replaced by bots. In March 2016, Microsoft's research division launched _Tay_, an AI chat bot on Twitter. As opposed to most other commercial machine learning-based software today, this bot had not completed its training before it was launche, but used all chat interactions as its continued machine learning input. \n\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|6+uk*19+3z*19*i+3*1g*i+1*19*i+5*19+4g*1g+1*19+14*1g+1*19+ad*19*i+3*1g*i+1*19*i+5*19|2+5p*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|8+1oi*19+i7*19*i+h*19+y*19*i+7*19|4+8a*19*1b*1*3+1*19|7+1eu*19+ui*19*i+9*19+1g*19*i+a*19+1d*19*i+9*19+1*19*i+1*19+15*19*i+m*19+2f*19*i+o*19|4+1fx*19+6e*19*1h+o*19+41*19*i+e*19|4+yo*19*1*f*3*g+1*19|8+ee*19*1b*1*3+1*19|7+xw*19*1a*1*3+1*19|4+vq*19+42*1g+1*19+mr*1g+1*19|2+cn*19+41*1g+1*19+b5*19*i+6*19|2+4n*19+5n*19*i+7*19+2*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*1*5*3+1*19|1+1*19*1*2*3+1*19|2+7m*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|1+y*19|2+2*0|1+1+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:16101":{"changeset":"Z:uvv>1|2i=e6a=e3*19+1$d","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672103738798}},"pad:accidental-tech:revs:16102":{"changeset":"Z:uvw>1|2i=e6a=g6*19+1$T","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672103746711}},"pad:accidental-tech:revs:16103":{"changeset":"Z:uvx>4|2i=e6a=g7*19+4$he 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system (through the MontrĂ©al-based group _SociĂšte de Conservation du PrĂ©sent_) and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York, through the Mail Artist Mark Bloch) and _The Well_ (San Francisco, through the periodical Artcom). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing company, became historicized in Howard Rheingold's 1993 best-selling book _The Virtual Community_. The book later inspired the designs of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous stickers that advertised his artist career. \n \nSince Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included transgressive projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time and by fellow artists, was seen as parodistic, but whose motives seem more dubious if one reads up Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, \"Corpse Club\", in: Banana, Anna. _About VILE_. Vancouver: Banana Productions, 1983, p. 59-60.] \n\nIn retrospect, spamming, trolling, and political subcultures like the \"Alternative Right\" (\"Alt-Right\") were forecasted in \"The Eternal Network\". In his 2001 book _Networked Art_, Craig A. Saper characterized Mail Art practice as \"intimate bureaucracies\" in which artists effectively turned themselves into administrative network operators (or, in today's terminology: sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001.] Network administration means to cope with accidents, and catastrophes, in real-time, especially when - like in Mail Art, or in internet social media - the network is simultaneously the information carrier and, at least to some degree, the information itself. Pauline Smith's apartment was raided by the police in 1976, in the same year when her London collaborator and fellow mail artist Genesis P-Orridge was put on trial for using pornographic images on postcards. In both cases, it is difficult to state whether the \"Eternal Network's\" pre-digital social networking had _created_ accidents or _was_ the accident itself. \n\nThis question became even more difficult to answer when network bureaucracies became algorithmic regimes, and when the Eternal Network operators who worked in the manner of Mieko Shiomi and others - designing and dispatching prompts, assembling the feedback - were replaced by bots. In March 2016, Microsoft's research division launched _Tay_, an AI chat bot on Twitter. As opposed to most other commercial machine learning-based software today, this bot had not completed its training before it was launched, but used all chat interactions as its continued machine learning input. The launch historically coincidended with Donald Trump's first successful presidential campaign and its militant support through the extreme-right \"Alt Right\" in Internet meme and troll forums. After Within few hours, \n\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system (through the MontrĂ©al-based group _SociĂšte de Conservation du PrĂ©sent_) and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York, through the Mail Artist Mark Bloch) and _The Well_ (San Francisco, through the periodical Artcom). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing company, became historicized in Howard Rheingold's 1993 best-selling book _The Virtual Community_. The book later inspired the designs of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous stickers that advertised his artist career. \n \nSince Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included transgressive projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time and by fellow artists, was seen as parodistic, but whose motives seem more dubious if one reads up Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, \"Corpse Club\", in: Banana, Anna. _About VILE_. Vancouver: Banana Productions, 1983, p. 59-60.] \n\nIn retrospect, spamming, trolling, and political subcultures like the \"Alternative Right\" (\"Alt-Right\") were forecasted in \"The Eternal Network\". In his 2001 book _Networked Art_, Craig A. Saper characterized Mail Art practice as \"intimate bureaucracies\" in which artists effectively turned themselves into administrative network operators (or, in today's terminology: sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001.] Network administration means to cope with accidents, and catastrophes, in real-time, especially when - like in Mail Art, or in internet social media - the network is simultaneously the information carrier and, at least to some degree, the information itself. Pauline Smith's apartment was raided by the police in 1976, in the same year when her London collaborator and fellow mail artist Genesis P-Orridge was put on trial for using pornographic images on postcards. In both cases, it is difficult to state whether the \"Eternal Network's\" pre-digital social networking had _created_ accidents or _was_ the accident itself. \n\nThis question became even more difficult to answer when network bureaucracies became algorithmic regimes, and when the Eternal Network operators who worked in the manner of Mieko Shiomi and others - designing and dispatching prompts, assembling the feedback - were replaced by bots. In March 2016, Microsoft's research division launched _Tay_, an AI chat bot on Twitter. As opposed to most other commercial machine learning-based software today, this bot had not completed its training before it was launched, but used all chat interactions as its continued machine learning input. The launch historically coincidended with Donald Trump's first successful presidential campaign and its militant support through the extreme-right \"Alt Right\" in Internet meme and troll forums. After word about Tay had spread on the main \"Alt Right\" forum at that time (the \"/pol\" or \"politically incorrect\" board on the website 4chan), Tay was retrained into a racist and fascist chat bot few hours, \n\n*Microsoft's Tay bot and its (re)programming through 4chan's Alt-Right in 2016\n\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|6+uk*19+3z*19*i+3*1g*i+1*19*i+5*19+4g*1g+1*19+14*1g+1*19+ad*19*i+3*1g*i+1*19*i+5*19|2+5p*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|8+1oi*19+i7*19*i+h*19+y*19*i+7*19|4+8a*19*1b*1*3+1*19|7+1eu*19+ui*19*i+9*19+1g*19*i+a*19+1d*19*i+9*19+1*19*i+1*19+15*19*i+m*19+2f*19*i+o*19|4+1fx*19+6e*19*1h+o*19+41*19*i+e*19|4+19v*19*1*f*3*g+1*19|8+ee*19*1b*1*3+1*19|7+xw*19*1a*1*3+1*19|4+vq*19+42*1g+1*19+mr*1g+1*19|2+cn*19+41*1g+1*19+b5*19*i+6*19|2+4n*19+5n*19*i+7*19+2*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*1*5*3+1*19|1+1*19*1*2*3+1*19|2+7m*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|1+y*19|2+2*0|1+1+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:16301":{"changeset":"Z:v72>5|2i=e6a=r0*19+5$withi","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672105048019}},"pad:accidental-tech:revs:16302":{"changeset":"Z:v77>1|2i=e6a=r5*19+1$n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672105048518}},"pad:accidental-tech:revs:16303":{"changeset":"Z:v78>1|2i=e6a=r6*19+1$ 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system (through the MontrĂ©al-based group _SociĂšte de Conservation du PrĂ©sent_) and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York, through the Mail Artist Mark Bloch) and _The Well_ (San Francisco, through the periodical Artcom). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing company, became historicized in Howard Rheingold's 1993 best-selling book _The Virtual Community_. The book later inspired the designs of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous stickers that advertised his artist career. \n \nSince Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included transgressive projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time and by fellow artists, was seen as parodistic, but whose motives seem more dubious if one reads up Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, \"Corpse Club\", in: Banana, Anna. _About VILE_. Vancouver: Banana Productions, 1983, p. 59-60.] \n\nIn retrospect, spamming, trolling, and political subcultures like the \"Alternative Right\" (\"Alt-Right\") were forecasted in \"The Eternal Network\". In his 2001 book _Networked Art_, Craig A. Saper characterized Mail Art practice as \"intimate bureaucracies\" in which artists effectively turned themselves into administrative network operators (or, in today's terminology: sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001.] Network administration means to cope with accidents, and catastrophes, in real-time, especially when - like in Mail Art, or in internet social media - the network is simultaneously the information carrier and, at least to some degree, the information itself. Pauline Smith's apartment was raided by the police in 1976, in the same year when her London collaborator and fellow mail artist Genesis P-Orridge was put on trial for using pornographic images on postcards. In both cases, it is difficult to state whether the \"Eternal Network's\" pre-digital social networking had _created_ accidents or _was_ the accident itself. \n\nThis question became even more difficult to answer when network bureaucracies became algorithmic regimes, and when the Eternal Network operators who worked in the manner of Mieko Shiomi and others - designing and dispatching prompts, assembling the feedback - were replaced by bots. In March 2016, Microsoft's research division launched _Tay_, an AI chat bot on Twitter. As opposed to most other commercial machine learning-based software today, this bot had not completed its training before it was launched, but used all chat interactions as its continued machine learning input. The launch historically coincidended with Donald Trump's first successful presidential campaign and its militant support through the extreme-right \"Alt Right\" in Internet meme and troll forums. After word about Tay had spread on the main \"Alt Right\" forum at that time (the \"/pol\" or \"politically incorrect\" board on the website 4chan), user interactions retrained Tay into an aggressively racist, fascist and Holocaust-denying chat bot within only few hours. 16 hours after its launch, Microsoft took Tay offline. \n\nThi\n\n=> questioning of the cause-and-effect logic that either technologies create accidents or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system (through the MontrĂ©al-based group _SociĂšte de Conservation du PrĂ©sent_) and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York, through the Mail Artist Mark Bloch) and _The Well_ (San Francisco, through the periodical Artcom). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing company, became historicized in Howard Rheingold's 1993 best-selling book _The Virtual Community_. The book later inspired the designs of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous stickers that advertised his artist career. \n \nSince Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included transgressive projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time and by fellow artists, was seen as parodistic, but whose motives seem more dubious if one reads up Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, \"Corpse Club\", in: Banana, Anna. _About VILE_. Vancouver: Banana Productions, 1983, p. 59-60.] \n\nIn retrospect, spamming, trolling, and political subcultures like the \"Alternative Right\" (\"Alt-Right\") were forecasted in \"The Eternal Network\". In his 2001 book _Networked Art_, Craig A. Saper characterized Mail Art practice as \"intimate bureaucracies\" in which artists effectively turned themselves into administrative network operators (or, in today's terminology: sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001.] Network administration means to cope with accidents, and catastrophes, in real-time, especially when - like in Mail Art, or in internet social media - the network is simultaneously the information carrier and, at least to some degree, the information itself. Pauline Smith's apartment was raided by the police in 1976, in the same year when her London collaborator and fellow mail artist Genesis P-Orridge was put on trial for using pornographic images on postcards. In both cases, it is difficult to state whether the \"Eternal Network's\" pre-digital social networking had _created_ accidents or _was_ the accident itself. \n\nThis question became even more difficult to answer when network bureaucracies became algorithmic regimes, and when the Eternal Network operators who worked in the manner of Mieko Shiomi and others - designing and dispatching prompts, assembling the feedback - were replaced by bots. In March 2016, Microsoft's research division launched _Tay_, an AI chat bot on Twitter. As opposed to most other commercial machine learning-based software today, this bot had not completed its training before it was launched, but used all chat interactions as its continued machine learning input. The launch historically coincidended with Donald Trump's first successful presidential campaign and its militant support through the extreme-right \"Alt Right\" in Internet meme and troll forums. After word about Tay had spread on the main \"Alt Right\" forum at that time (the \"/pol\" or \"politically incorrect\" board on the website 4chan), user interactions retrained Tay into an aggressively racist, fascist and Holocaust-denying chat bot within only few hours. 16 hours after its launch, Microsoft took Tay offline. \n\nEven more than the Mail Art examples, Tay does not actually fit a linear cause-and-effect logic according to which technologies either create accidents and catastrophes (such as the invention of the car having as or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|6+uk*19+3z*19*i+3*1g*i+1*19*i+5*19+4g*1g+1*19+14*1g+1*19+ad*19*i+3*1g*i+1*19*i+5*19|2+5p*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|8+1oi*19+i7*19*i+h*19+y*19*i+7*19|4+8a*19*1b*1*3+1*19|7+1eu*19+ui*19*i+9*19+1g*19*i+a*19+1d*19*i+9*19+1*19*i+1*19+15*19*i+m*19+2f*19*i+o*19|4+1fx*19+6e*19*1h+o*19+41*19*i+e*19|9+1sp*19*1b*1*3+1*19|7+xw*19*1a*1*3+1*19|4+vq*19+42*1g+1*19+mr*1g+1*19|2+cn*19+41*1g+1*19+b5*19*i+6*19|2+4n*19+5n*19*i+7*19+2*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*1*5*3+1*19|1+1*19*1*2*3+1*19|2+7m*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|1+y*19|2+2*0|1+1+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:16501":{"changeset":"Z:vbh>1|2k=f0t=5u*19|1+1$\n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672105423091}},"pad:accidental-tech:revs:16502":{"changeset":"Z:vbi>1|2l=f6o*19|1+1$\n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672105423595}},"pad:accidental-tech:revs:16503":{"changeset":"Z:vbj<7|2k=f0t=5n-7$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672105433814}},"pad:accidental-tech:revs:16504":{"changeset":"Z:vbc<1|2k=f0t=5m-1$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672105434315}},"pad:accidental-tech:revs:16505":{"changeset":"Z:vbb>1|2k=f0t=3y*19+1$t","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672105437726}},"pad:accidental-tech:revs:16506":{"changeset":"Z:vbc>5|2k=f0t=3z*19+5$heir 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system (through the MontrĂ©al-based group _SociĂšte de Conservation du PrĂ©sent_) and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York, through the Mail Artist Mark Bloch) and _The Well_ (San Francisco, through the periodical Artcom). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing company, became historicized in Howard Rheingold's 1993 best-selling book _The Virtual Community_. The book later inspired the designs of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous stickers that advertised his artist career. \n \nSince Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included transgressive projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time and by fellow artists, was seen as parodistic, but whose motives seem more dubious if one reads up Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, \"Corpse Club\", in: Banana, Anna. _About VILE_. Vancouver: Banana Productions, 1983, p. 59-60.] \n\nIn retrospect, spamming, trolling, and political subcultures like the \"Alternative Right\" (\"Alt-Right\") were forecasted in \"The Eternal Network\". In his 2001 book _Networked Art_, Craig A. Saper characterized Mail Art practice as \"intimate bureaucracies\" in which artists effectively turned themselves into administrative network operators (or, in today's terminology: sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001.] Network administration means to cope with accidents, and catastrophes, in real-time, especially when - like in Mail Art, or in internet social media - the network is simultaneously the information carrier and, at least to some degree, the information itself. Pauline Smith's apartment was raided by the police in 1976, in the same year when her London collaborator and fellow mail artist Genesis P-Orridge was put on trial for using pornographic images on postcards. In both cases, it is difficult to state whether the \"Eternal Network's\" pre-digital social networking had _created_ accidents or _was_ the accident itself. \n\nThis question became even more difficult to answer when network bureaucracies became algorithmic regimes, and when the Eternal Network operators who worked in the manner of Mieko Shiomi and others - designing and dispatching prompts, assembling the feedback - were replaced by bots. In March 2016, Microsoft's research division launched _Tay_, an AI chat bot on Twitter. As opposed to most other commercial machine learning-based software today, this bot had not completed its training before it was launched, but used all chat interactions as its continued machine learning input. The launch historically coincidended with Donald Trump's first successful presidential campaign and its militant support through the extreme-right \"Alt Right\" in Internet meme and troll forums. After word about Tay had spread on the main \"Alt Right\" forum at that time (the \"/pol\" or \"politically incorrect\" board on the website 4chan), user interactions retrained Tay into an aggressively racist, fascist and Holocaust-denying chat bot within only few hours. 16 hours after its launch, Microsoft took Tay offline. \n\nEven more than the Mail Art examples, Tay does not actually fit a linear cause-and-effect logic according to which technologies either create their own accidents and catastrophes (such as the invention of the car having resulted in currently 1.3 million deaths per year in car accidents and another estimated 4)\n\n as or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|6+uk*19+3z*19*i+3*1g*i+1*19*i+5*19+4g*1g+1*19+14*1g+1*19+ad*19*i+3*1g*i+1*19*i+5*19|2+5p*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|8+1oi*19+i7*19*i+h*19+y*19*i+7*19|4+8a*19*1b*1*3+1*19|7+1eu*19+ui*19*i+9*19+1g*19*i+a*19+1d*19*i+9*19+1*19*i+1*19+15*19*i+m*19+2f*19*i+o*19|4+1fx*19+6e*19*1h+o*19+41*19*i+e*19|b+1vk*19*1b*1*3+1*19|7+xw*19*1a*1*3+1*19|4+vq*19+42*1g+1*19+mr*1g+1*19|2+cn*19+41*1g+1*19+b5*19*i+6*19|2+4n*19+5n*19*i+7*19+2*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*1*5*3+1*19|1+1*19*1*2*3+1*19|2+7m*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|1+y*19|2+2*0|1+1+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:16601":{"changeset":"Z:vec>3|2k=f0t=8m*19+3$000","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672105599312}},"pad:accidental-tech:revs:16602":{"changeset":"Z:vef<1|2k=f0t=8o-1$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672105599811}},"pad:accidental-tech:revs:16603":{"changeset":"Z:vee>1|2k=f0t=8o*19+1$,","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672105600312}},"pad:accidental-tech:revs:16604":{"changeset":"Z:vef>0|2k=f0t=8o-1*19+1$.","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672105600812}},"pad:accidental-tech:revs:16605":{"changeset":"Z:vef>2|2k=f0t=8p*19+2$00","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672105601313}},"pad:accidental-tech:revs:16606":{"changeset":"Z:veh>1|2k=f0t=8r*19+1$0","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672105601916}},"pad:accidental-tech:revs:16607":{"changeset":"Z:vei>5|2k=f0t=8s*19+5$ 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system (through the MontrĂ©al-based group _SociĂšte de Conservation du PrĂ©sent_) and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York, through the Mail Artist Mark Bloch) and _The Well_ (San Francisco, through the periodical Artcom). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing company, became historicized in Howard Rheingold's 1993 best-selling book _The Virtual Community_. The book later inspired the designs of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous stickers that advertised his artist career. \n \nSince Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included transgressive projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time and by fellow artists, was seen as parodistic, but whose motives seem more dubious if one reads up Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, \"Corpse Club\", in: Banana, Anna. _About VILE_. Vancouver: Banana Productions, 1983, p. 59-60.] \n\nIn retrospect, spamming, trolling, and political subcultures like the \"Alternative Right\" (\"Alt-Right\") were forecasted in \"The Eternal Network\". In his 2001 book _Networked Art_, Craig A. Saper characterized Mail Art practice as \"intimate bureaucracies\" in which artists effectively turned themselves into administrative network operators (or, in today's terminology: sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001.] Network administration means to cope with accidents, and catastrophes, in real-time, especially when - like in Mail Art, or in internet social media - the network is simultaneously the information carrier and, at least to some degree, the information itself. Pauline Smith's apartment was raided by the police in 1976, in the same year when her London collaborator and fellow mail artist Genesis P-Orridge was put on trial for using pornographic images on postcards. In both cases, it is difficult to state whether the \"Eternal Network's\" pre-digital social networking had _created_ accidents or _was_ the accident itself. \n\nThis question became even more difficult to answer when network bureaucracies became algorithmic regimes, and when the Eternal Network operators who worked in the manner of Mieko Shiomi and others - designing and dispatching prompts, assembling the feedback - were replaced by bots. In March 2016, Microsoft's research division launched _Tay_, an AI chat bot on Twitter. As opposed to most other commercial machine learning-based software today, this bot had not completed its training before it was launched, but used all chat interactions as its continued machine learning input. The launch historically coincidended with Donald Trump's first successful presidential campaign and its militant support through the extreme-right \"Alt Right\" in Internet meme and troll forums. After word about Tay had spread on the main \"Alt Right\" forum at that time (the \"/pol\" or \"politically incorrect\" board on the website 4chan), user interactions retrained Tay into an aggressively racist, fascist and Holocaust-denying chat bot within only few hours. 16 hours after its launch, Microsoft took Tay offline. \n\nEven more than the Mail Art examples, Tay does not actually fit a linear cause-and-effect logic according to which technologies either create their own accidents and catastrophes (such as the invention of the car having resulted in ca. 1.3 million deaths per year in car accidents and another estimated 385,000 premature deaths through air pollution^[Anenberg, Susan, et al. \"A global snapshot of the air pollution-related health impacts of transportation sector emissions in 2010 and 2015.\" _International Council on Clean Transportation_, Washington, DC, USA (2019).]), or accidents and catastrophes create their own technologies, such as the birth of information and computer technology out of w. \n\n as or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|6+uk*19+3z*19*i+3*1g*i+1*19*i+5*19+4g*1g+1*19+14*1g+1*19+ad*19*i+3*1g*i+1*19*i+5*19|2+5p*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|8+1oi*19+i7*19*i+h*19+y*19*i+7*19|4+8a*19*1b*1*3+1*19|7+1eu*19+ui*19*i+9*19+1g*19*i+a*19+1d*19*i+9*19+1*19*i+1*19+15*19*i+m*19+2f*19*i+o*19|4+1fx*19+6e*19*1h+o*19+41*19*i+e*19|4+1d0*19+dp*19*i+1v*19|7+dt*19*1b*1*3+1*19|7+xw*19*1a*1*3+1*19|4+vq*19+42*1g+1*19+mr*1g+1*19|2+cn*19+41*1g+1*19+b5*19*i+6*19|2+4n*19+5n*19*i+7*19+2*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*1*5*3+1*19|1+1*19*1*2*3+1*19|2+7m*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|1+y*19|2+2*0|1+1+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:16701":{"changeset":"Z:vp5>2|2k=f0t=je*19+2$ar","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672105848334}},"pad:accidental-tech:revs:16702":{"changeset":"Z:vp7>3|2k=f0t=jg*19+3$ 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system (through the MontrĂ©al-based group _SociĂšte de Conservation du PrĂ©sent_) and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York, through the Mail Artist Mark Bloch) and _The Well_ (San Francisco, through the periodical Artcom). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing company, became historicized in Howard Rheingold's 1993 best-selling book _The Virtual Community_. The book later inspired the designs of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous stickers that advertised his artist career. \n \nSince Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included transgressive projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time and by fellow artists, was seen as parodistic, but whose motives seem more dubious if one reads up Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, \"Corpse Club\", in: Banana, Anna. _About VILE_. Vancouver: Banana Productions, 1983, p. 59-60.] \n\nIn retrospect, spamming, trolling, and political subcultures like the \"Alternative Right\" (\"Alt-Right\") were forecasted in \"The Eternal Network\". In his 2001 book _Networked Art_, Craig A. Saper characterized Mail Art practice as \"intimate bureaucracies\" in which artists effectively turned themselves into administrative network operators (or, in today's terminology: sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001.] Network administration means to cope with accidents, and catastrophes, in real-time, especially when - like in Mail Art, or in internet social media - the network is simultaneously the information carrier and, at least to some degree, the information itself. Pauline Smith's apartment was raided by the police in 1976, in the same year when her London collaborator and fellow mail artist Genesis P-Orridge was put on trial for using pornographic images on postcards. In both cases, it is difficult to state whether the \"Eternal Network's\" pre-digital social networking had _created_ accidents or _was_ the accident itself. \n\nThis question became even more difficult to answer when network bureaucracies became algorithmic regimes, and when the Eternal Network operators who worked in the manner of Mieko Shiomi and others - designing and dispatching prompts, assembling the feedback - were replaced by bots. In March 2016, Microsoft's research division launched _Tay_, an AI chat bot on Twitter. As opposed to most other commercial machine learning-based software today, this bot had not completed its training before it was launched, but used all chat interactions as its continued machine learning input. The launch historically coincidended with Donald Trump's first successful presidential campaign and its militant support through the extreme-right \"Alt Right\" in Internet meme and troll forums. After word about Tay had spread on the main \"Alt Right\" forum at that time (the \"/pol\" or \"politically incorrect\" board on the website 4chan), user interactions retrained Tay into an aggressively racist, fascist and Holocaust-denying chat bot within only few hours. 16 hours after its launch, Microsoft took Tay offline. \n\nEven more than the Mail Art examples, Tay does not actually fit a linear cause-and-effect logic according to which technologies either create their own accidents and catastrophes (such as the invention of the car having resulted in ca. 1.3 million deaths per year in car accidents and another estimated 385,000 premature deaths through air pollution^[Anenberg, Susan, et al. \"A global snapshot of the air pollution-related health impacts of transportation sector emissions in 2010 and 2015.\" _International Council on Clean Transportation_, Washington, DC, USA (2019).]), or accidents and catastrophes create their own technologies, such as modern information and computer technology that was born out of British and American defense against Nazi Germany, or Japan's consumer electronics industry that grew out of the demilitarization of the country after the H\n\n as or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system (through the MontrĂ©al-based group _SociĂšte de Conservation du PrĂ©sent_) and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York, through the Mail Artist Mark Bloch) and _The Well_ (San Francisco, through the periodical Artcom). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing company, became historicized in Howard Rheingold's 1993 best-selling book _The Virtual Community_. The book later inspired the designs of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous stickers that advertised his artist career. \n \nSince Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included transgressive projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time and by fellow artists, was seen as parodistic, but whose motives seem more dubious if one reads up Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, \"Corpse Club\", in: Banana, Anna. _About VILE_. Vancouver: Banana Productions, 1983, p. 59-60.] \n\nIn retrospect, spamming, trolling, and political subcultures like the \"Alternative Right\" (\"Alt-Right\") were forecasted in \"The Eternal Network\". In his 2001 book _Networked Art_, Craig A. Saper characterized Mail Art practice as \"intimate bureaucracies\" in which artists effectively turned themselves into administrative network operators (or, in today's terminology: sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001.] Network administration means to cope with accidents, and catastrophes, in real-time, especially when - like in Mail Art, or in internet social media - the network is simultaneously the information carrier and, at least to some degree, the information itself. Pauline Smith's apartment was raided by the police in 1976, in the same year when her London collaborator and fellow mail artist Genesis P-Orridge was put on trial for using pornographic images on postcards. In both cases, it is difficult to state whether the \"Eternal Network's\" pre-digital social networking had _created_ accidents or _was_ the accident itself. \n\nThis question became even more difficult to answer when network bureaucracies became algorithmic regimes, and when the Eternal Network operators who worked in the manner of Mieko Shiomi and others - designing and dispatching prompts, assembling the feedback - were replaced by bots. In March 2016, Microsoft's research division launched _Tay_, an AI chat bot on Twitter. As opposed to most other commercial machine learning-based software today, this bot had not completed its training before it was launched, but used all chat interactions as its continued machine learning input. The launch historically coincidended with Donald Trump's first successful presidential campaign and its militant support through the extreme-right \"Alt Right\" in Internet meme and troll forums. After word about Tay had spread on the main \"Alt Right\" forum at that time (the \"/pol\" or \"politically incorrect\" board on the website 4chan), user interactions retrained Tay into an aggressively racist, fascist and Holocaust-denying chat bot within only few hours. 16 hours after its launch, Microsoft took Tay offline. \n\nEven more than the Mail Art examples, Tay does not actually fit a linear cause-and-effect logic according to which technologies either create their own accidents and catastrophes (such as the invention of the car having resulted in ca. 1.3 million deaths per year in car accidents and another estimated 385,000 premature deaths through air pollution^[Anenberg, Susan, et al. \"A global snapshot of the air pollution-related health impacts of transportation sector emissions in 2010 and 2015.\" _International Council on Clean Transportation_, Washington, DC, USA (2019).]), or accidents and catastrophes cfoster new technologies, such as modern information and computer technology that was born out of British and American defense against Nazi Germany, or the growth and innovations of Japan's consumer electronics industry after the catastrophes of Hiroshima, Nagaski and the demilitarization of the country. \n\n as or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system (through the MontrĂ©al-based group _SociĂšte de Conservation du PrĂ©sent_) and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York, through the Mail Artist Mark Bloch) and _The Well_ (San Francisco, through the periodical Artcom). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing company, became historicized in Howard Rheingold's 1993 best-selling book _The Virtual Community_. The book later inspired the designs of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous stickers that advertised his artist career. \n \nSince Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included transgressive projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time and by fellow artists, was seen as parodistic, but whose motives seem more dubious if one reads up Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, \"Corpse Club\", in: Banana, Anna. _About VILE_. Vancouver: Banana Productions, 1983, p. 59-60.] \n\nIn retrospect, spamming, trolling, and political subcultures like the \"Alternative Right\" (\"Alt-Right\") were forecasted in \"The Eternal Network\". In his 2001 book _Networked Art_, Craig A. Saper characterized Mail Art practice as \"intimate bureaucracies\" in which artists effectively turned themselves into administrative network operators (or, in today's terminology: sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001.] Network administration means to cope with accidents, and catastrophes, in real-time, especially when - like in Mail Art, or in internet social media - the network is simultaneously the information carrier and, at least to some degree, the information itself. Pauline Smith's apartment was raided by the police in 1976, in the same year when her London collaborator and fellow mail artist Genesis P-Orridge was put on trial for using pornographic images on postcards. In both cases, it is difficult to state whether the \"Eternal Network's\" pre-digital social networking had _created_ accidents or _was_ the accident itself. \n\nThis question became even more difficult to answer when network bureaucracies became algorithmic regimes, and when the Eternal Network operators who worked in the manner of Mieko Shiomi and others - designing and dispatching prompts, assembling the feedback - were replaced by bots. In March 2016, Microsoft's research division launched _Tay_, an AI chat bot on Twitter. As opposed to most other commercial machine learning-based software today, this bot had not completed its training before it was launched, but used all chat interactions as its continued machine learning input. The launch historically coincidended with Donald Trump's first successful presidential campaign and its militant support through the extreme-right \"Alt Right\" in Internet meme and troll forums. After word about Tay had spread on the main \"Alt Right\" forum at that time (the \"/pol\" or \"politically incorrect\" board on the website 4chan), user interactions retrained Tay into an aggressively racist, fascist and Holocaust-denying chat bot within only few hours. 16 hours after its launch, Microsoft took Tay offline. \n\nEven the Mail Art examples, Tay does not seem to fit a linear cause-and-effect logic according to which technologies either create their own accidents and catastrophes (such as the invention of the car having resulted in ca. 1.3 million deaths per year in car accidents and another estimated 385,000 premature deaths through air pollution^[Anenberg, Susan, et al. \"A global snapshot of the air pollution-related health impacts of transportation sector emissions in 2010 and 2015.\" _International Council on Clean Transportation_, Washington, DC, USA (2019).]), or accidents and catastrophes conversely foster new technologies, such as modern information and computer technology born out of British and American defense against Nazi Germany, or the high-tech innovations of Dutch \"Delta Works\" water management after the country's flood catastrophe in 1953. \n\n as or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system (through the MontrĂ©al-based group _SociĂšte de Conservation du PrĂ©sent_) and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York, through the Mail Artist Mark Bloch) and _The Well_ (San Francisco, through the periodical Artcom). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing company, became historicized in Howard Rheingold's 1993 best-selling book _The Virtual Community_. The book later inspired the designs of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous stickers that advertised his artist career. \n \nSince Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included transgressive projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time and by fellow artists, was seen as parodistic, but whose motives seem more dubious if one reads up Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, \"Corpse Club\", in: Banana, Anna. _About VILE_. Vancouver: Banana Productions, 1983, p. 59-60.] \n\nIn retrospect, spamming, trolling, and political subcultures like the \"Alternative Right\" (\"Alt-Right\") were forecasted in \"The Eternal Network\". In his 2001 book _Networked Art_, Craig A. Saper characterized Mail Art practice as \"intimate bureaucracies\" in which artists effectively turned themselves into administrative network operators (or, in today's terminology: sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001.] Network administration means to cope with accidents, and catastrophes, in real-time, especially when - like in Mail Art, or in internet social media - the network is simultaneously the information carrier and, at least to some degree, the information itself. Pauline Smith's apartment was raided by the police in 1976, in the same year when her London collaborator and fellow mail artist Genesis P-Orridge was put on trial for using pornographic images on postcards. In both cases, it is difficult to state whether the \"Eternal Network's\" pre-digital social networking had _created_ accidents or _was_ the accident itself. \n\nThis question became even more difficult to answer when network bureaucracies became algorithmic regimes, and when the Eternal Network operators who worked in the manner of Mieko Shiomi and others - designing and dispatching prompts, assembling the feedback - were replaced by bots. In March 2016, Microsoft's research division launched _Tay_, an AI chat bot on Twitter. As opposed to most other commercial machine learning-based software today, this bot had not completed its training before it was launched, but used all chat interactions as its continued machine learning input. The launch historically coincidended with Donald Trump's first successful presidential campaign and its militant support through the extreme-right \"Alt Right\" in Internet meme and troll forums. After word about Tay had spread on the main \"Alt Right\" forum at that time (the \"/pol\" or \"politically incorrect\" board on the website 4chan), user interactions retrained Tay into an aggressively racist, fascist and Holocaust-denying chat bot within only few hours. 16 hours after its launch, Microsoft took Tay offline. \n\nTay does not seem to fit a linear cause-and-effect logic according to which technologies either create their own accidents and catastrophes (such as the invention of the car having resulted in ca. 1.3 million deaths per year in car accidents and another estimated 385,000 premature deaths through air pollution^[Anenberg, Susan, et al. \"A global snapshot of the air pollution-related health impacts of transportation sector emissions in 2010 and 2015.\" _International Council on Clean Transportation_, Washington, DC, USA (2019).]), or accidents and catastrophes conversely foster new technologies, such as modern information and computer technology born out of British and American defense against Nazi Germany, or the high-tech innovations of Dutch \"Delta Works\" water management after the country's flood catastrophe in 1953. As radically open systems that feed on their own networks, in largely unprotected modes, both Tay and Mail Art could be characterized as being simtaneously causes, \n\n as or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|6+uk*19+3z*19*i+3*1g*i+1*19*i+5*19+4g*1g+1*19+14*1g+1*19+ad*19*i+3*1g*i+1*19*i+5*19|2+5p*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|8+1oi*19+i7*19*i+h*19+y*19*i+7*19|4+8a*19*1b*1*3+1*19|7+1eu*19+ui*19*i+9*19+1g*19*i+a*19+1d*19*i+9*19+1*19*i+1*19+15*19*i+m*19+2f*19*i+o*19|4+1fx*19+6e*19*1h+o*19+41*19*i+e*19|4+1d0*19+cm*19*i+1v*19|7+n1*19*1b*1*3+1*19|7+xw*19*1a*1*3+1*19|4+vq*19+42*1g+1*19+mr*1g+1*19|2+cn*19+41*1g+1*19+b5*19*i+6*19|2+4n*19+5n*19*i+7*19+2*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*1*5*3+1*19|1+1*19*1*2*3+1*19|2+7m*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|1+y*19|2+2*0|1+1+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:17101":{"changeset":"Z:vxa>1|2k=f0t=rl*19+1$e","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672106853659}},"pad:accidental-tech:revs:17102":{"changeset":"Z:vxb>3|2k=f0t=rm*19+3$ffe","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672106854160}},"pad:accidental-tech:revs:17103":{"changeset":"Z:vxe>1|2k=f0t=rp*19+1$c","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672106854661}},"pad:accidental-tech:revs:17104":{"changeset":"Z:vxf<1|2k=f0t=rk-1$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672106855562}},"pad:accidental-tech:revs:17105":{"changeset":"Z:vxe>1|2k=f0t=rj-1*19+2$ 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system (through the MontrĂ©al-based group _SociĂšte de Conservation du PrĂ©sent_) and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York, through the Mail Artist Mark Bloch) and _The Well_ (San Francisco, through the periodical Artcom). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing company, became historicized in Howard Rheingold's 1993 best-selling book _The Virtual Community_. The book later inspired the designs of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous stickers that advertised his artist career. \n \nSince Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included transgressive projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time and by fellow artists, was seen as parodistic, but whose motives seem more dubious if one reads up Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, \"Corpse Club\", in: Banana, Anna. _About VILE_. Vancouver: Banana Productions, 1983, p. 59-60.] \n\nIn retrospect, spamming, trolling, and political subcultures like the \"Alternative Right\" (\"Alt-Right\") were forecasted in \"The Eternal Network\". In his 2001 book _Networked Art_, Craig A. Saper characterized Mail Art practice as \"intimate bureaucracies\" in which artists effectively turned themselves into administrative network operators (or, in today's terminology: sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001.] Network administration means to cope with accidents, and catastrophes, in real-time, especially when - like in Mail Art, or in internet social media - the network is simultaneously the information carrier and, at least to some degree, the information itself. Pauline Smith's apartment was raided by the police in 1976, in the same year when her London collaborator and fellow mail artist Genesis P-Orridge was put on trial for using pornographic images on postcards. In both cases, it is difficult to state whether the \"Eternal Network's\" pre-digital social networking had _created_ accidents or _was_ the accident itself. \n\nThis question became even more difficult to answer when network bureaucracies became algorithmic regimes, and when the Eternal Network operators who worked in the manner of Mieko Shiomi and others - designing and dispatching prompts, assembling the feedback - were replaced by bots. In March 2016, Microsoft's research division launched _Tay_, an AI chat bot on Twitter. As opposed to most other commercial machine learning-based software today, this bot had not completed its training before it was launched, but used all chat interactions as its continued machine learning input. The launch historically coincidended with Donald Trump's first successful presidential campaign and its militant support through the extreme-right \"Alt Right\" in Internet meme and troll forums. After word about Tay had spread on the main \"Alt Right\" forum at that time (the \"/pol\" or \"politically incorrect\" board on the website 4chan), user interactions retrained Tay into an aggressively racist, fascist and Holocaust-denying chat bot within only few hours. 16 hours after its launch, Microsoft took Tay offline. \n\nTay does not seem to fit a linear cause-and-effect logic according to which technologies either create their own accidents and catastrophes (such as the invention of the car having resulted in ca. 1.3 million deaths per year in car accidents and another estimated 385,000 premature deaths through air pollution^[Anenberg, Susan, et al. \"A global snapshot of the air pollution-related health impacts of transportation sector emissions in 2010 and 2015.\" _International Council on Clean Transportation_, Washington, DC, USA (2019).]), or accidents and catastrophes conversely foster new technologies, such as modern information and computer technology born out of British and American defense against Nazi Germany, or the high-tech innovations of Dutch \"Delta Works\" water management after the country's flood catastrophe in 1953. As radically open feedback systems that digest their own networks, in largely unprotected modes, both Tay and Mail Art could be called simultaneous causes and effects of accidents; even to the point where it becomes impossible to disentagle technology and accident fr\n\n as or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|6+uk*19+3z*19*i+3*1g*i+1*19*i+5*19+4g*1g+1*19+14*1g+1*19+ad*19*i+3*1g*i+1*19*i+5*19|2+5p*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|8+1oi*19+i7*19*i+h*19+y*19*i+7*19|4+8a*19*1b*1*3+1*19|7+1eu*19+ui*19*i+9*19+1g*19*i+a*19+1d*19*i+9*19+1*19*i+1*19+15*19*i+m*19+2f*19*i+o*19|4+1fx*19+6e*19*1h+o*19+41*19*i+e*19|4+1d0*19+cm*19*i+1v*19|7+pw*19*1b*1*3+1*19|7+xw*19*1a*1*3+1*19|4+vq*19+42*1g+1*19+mr*1g+1*19|2+cn*19+41*1g+1*19+b5*19*i+6*19|2+4n*19+5n*19*i+7*19+2*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*1*5*3+1*19|1+1*19*1*2*3+1*19|2+7m*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|1+y*19|2+2*0|1+1+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:17201":{"changeset":"Z:w05>3|2k=f0t=ug*19+3$p, ","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672107020688}},"pad:accidental-tech:revs:17202":{"changeset":"Z:w08<1|2k=f0t=ui-1$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672107021288}},"pad:accidental-tech:revs:17203":{"changeset":"Z:w07<2|2k=f0t=ug-2$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672107021788}},"pad:accidental-tech:revs:17204":{"changeset":"Z:w05>3|2k=f0t=ug*19+3$om ","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672107022290}},"pad:accidental-tech:revs:17205":{"changeset":"Z:w08>3|2k=f0t=uj*19+3$eac","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672107022790}},"pad:accidental-tech:revs:17206":{"changeset":"Z:w0b>6|2k=f0t=um*19+6$h othe","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672107023295}},"pad:accidental-tech:revs:17207":{"changeset":"Z:w0h>1|2k=f0t=us*19+1$r","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672107023790}},"pad:accidental-tech:revs:17208":{"changeset":"Z:w0i>1|2k=f0t=ut*19+1$.","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672107039232}},"pad:accidental-tech:revs:17209":{"changeset":"Z:w0j>2|2k=f0t=uu*19+2$ T","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672107039731}},"pad:accidental-tech:revs:17210":{"changeset":"Z:w0l>3|2k=f0t=uw*19+3$hey","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672107040234}},"pad:accidental-tech:revs:17211":{"changeset":"Z:w0o>1|2k=f0t=uz*19+1$ ","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672107040735}},"pad:accidental-tech:revs:17212":{"changeset":"Z:w0p>4|2k=f0t=v0*19+4$are ","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672107041236}},"pad:accidental-tech:revs:17213":{"changeset":"Z:w0t>1|2k=f0t=v4*19+1$r","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672107042739}},"pad:accidental-tech:revs:17214":{"changeset":"Z:w0u>2|2k=f0t=v5*19+2$ec","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672107043236}},"pad:accidental-tech:revs:17215":{"changeset":"Z:w0w>4|2k=f0t=v7*19+4$ipes","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672107043839}},"pad:accidental-tech:revs:17216":{"changeset":"Z:w10>1|2k=f0t=vb*19+1$ ","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672107044340}},"pad:accidental-tech:revs:17217":{"changeset":"Z:w11>3|2k=f0t=vc*19+3$for","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672107044841}},"pad:accidental-tech:revs:17218":{"changeset":"Z:w14>1|2k=f0t=vf*19+1$ ","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672107045344}},"pad:accidental-tech:revs:17219":{"changeset":"Z:w15>1|2k=f0t=vg*19+1$d","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672107045845}},"pad:accidental-tech:revs:17220":{"changeset":"Z:w16>1|2k=f0t=vh*19+1$i","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672107047147}},"pad:accidental-tech:revs:17221":{"changeset":"Z:w17>2|2k=f0t=vi*19+2$sa","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672107047651}},"pad:accidental-tech:revs:17222":{"changeset":"Z:w19>4|2k=f0t=vk*19+4$ster","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672107048152}},"pad:accidental-tech:revs:17223":{"changeset":"Z:w1d2|2k=f0t=s0*19+2$. 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system (through the MontrĂ©al-based group _SociĂšte de Conservation du PrĂ©sent_) and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York, through the Mail Artist Mark Bloch) and _The Well_ (San Francisco, through the periodical Artcom). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing company, became historicized in Howard Rheingold's 1993 best-selling book _The Virtual Community_. The book later inspired the designs of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous stickers that advertised his artist career. \n \nSince Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included transgressive projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time and by fellow artists, was seen as parodistic, but whose motives seem more dubious if one reads up Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, \"Corpse Club\", in: Banana, Anna. _About VILE_. Vancouver: Banana Productions, 1983, p. 59-60.] \n\nIn retrospect, spamming, trolling, and political subcultures like the \"Alternative Right\" (\"Alt-Right\") were forecasted in \"The Eternal Network\". In his 2001 book _Networked Art_, Craig A. Saper characterized Mail Art practice as \"intimate bureaucracies\" in which artists effectively turned themselves into administrative network operators (or, in today's terminology: sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001.] Network administration means to cope with accidents, and catastrophes, in real-time, especially when - like in Mail Art, or in internet social media - the network is simultaneously the information carrier and, at least to some degree, the information itself. Pauline Smith's apartment was raided by the police in 1976, in the same year when her London collaborator and fellow mail artist Genesis P-Orridge was put on trial for using pornographic images on postcards. In both cases, it is difficult to state whether the \"Eternal Network's\" pre-digital social networking had _created_ accidents or _was_ the accident itself. \n\nThis question became even more difficult to answer when network bureaucracies became algorithmic regimes, and when the Eternal Network operators who worked in the manner of Mieko Shiomi and others - designing and dispatching prompts, assembling the feedback - were replaced by bots. In March 2016, Microsoft's research division launched _Tay_, an AI chat bot on Twitter. As opposed to most other commercial machine learning-based software today, this bot had not completed its training before it was launched, but used all chat interactions as its continued machine learning input. The launch historically coincidended with Donald Trump's first successful presidential campaign and its militant support through the extreme-right \"Alt Right\" in Internet meme and troll forums. After word about Tay had spread on the main \"Alt Right\" forum at that time (the \"/pol\" or \"politically incorrect\" board on the website 4chan), user interactions retrained Tay into an aggressively racist, fascist and Holocaust-denying chat bot within only few hours. 16 hours after its launch, Microsoft took Tay offline. \n\nTay does not seem to fit a linear cause-and-effect logic according to which technologies either create their own accidents and catastrophes (such as the invention of the car having resulted in ca. 1.3 million deaths per year in car accidents and another estimated 385,000 premature deaths through air pollution^[Anenberg, Susan, et al. \"A global snapshot of the air pollution-related health impacts of transportation sector emissions in 2010 and 2015.\" _International Council on Clean Transportation_, Washington, DC, USA (2019).]), or accidents and catastrophes conversely foster new technologies, such as modern information and computer technology born out of British and American defense against Nazi Germany, or the high-tech innovations of Dutch \"Delta Works\" water management after the country's flood catastrophe in 1953. As radically open feedback systems that digest their own networks, in largely unprotected modes, both Tay and Mail Art could be called simultaneous causes and effects of accidents. Their constructions are recipes for disaster, to the point where it becomes impossible to differentiate what is the technology and is the accident in them. In the case of Mail Art - but not of Microsoft -, this recipe was even \n\n as or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|6+uk*19+3z*19*i+3*1g*i+1*19*i+5*19+4g*1g+1*19+14*1g+1*19+ad*19*i+3*1g*i+1*19*i+5*19|2+5p*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|8+1oi*19+i7*19*i+h*19+y*19*i+7*19|4+8a*19*1b*1*3+1*19|7+1eu*19+ui*19*i+9*19+1g*19*i+a*19+1d*19*i+9*19+1*19*i+1*19+15*19*i+m*19+2f*19*i+o*19|4+1fx*19+6e*19*1h+o*19+41*19*i+e*19|4+1d0*19+cm*19*i+1v*19|7+tu*19*1b*1*3+1*19|7+xw*19*1a*1*3+1*19|4+vq*19+42*1g+1*19+mr*1g+1*19|2+cn*19+41*1g+1*19+b5*19*i+6*19|2+4n*19+5n*19*i+7*19+2*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*1*5*3+1*19|1+1*19*1*2*3+1*19|2+7m*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|1+y*19|2+2*0|1+1+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:17301":{"changeset":"Z:w43>1|2k=f0t=ye*19+1$u","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672107169251}},"pad:accidental-tech:revs:17302":{"changeset":"Z:w44<1|2k=f0t=ye-1$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672107169849}},"pad:accidental-tech:revs:17303":{"changeset":"Z:w43>4|2k=f0t=ye*19+4$cons","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672107170453}},"pad:accidental-tech:revs:17304":{"changeset":"Z:w47>3|2k=f0t=yi*19+3$cio","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672107170958}},"pad:accidental-tech:revs:17305":{"changeset":"Z:w4a>3|2k=f0t=yl*19+3$usl","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672107171458}},"pad:accidental-tech:revs:17306":{"changeset":"Z:w4d>1|2k=f0t=yo*19+1$y","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672107172863}},"pad:accidental-tech:revs:17307":{"changeset":"Z:w4e>1|2k=f0t=yp*19+1$ 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system (through the MontrĂ©al-based group _SociĂšte de Conservation du PrĂ©sent_) and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York, through the Mail Artist Mark Bloch) and _The Well_ (San Francisco, through the periodical Artcom). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing company, became historicized in Howard Rheingold's 1993 best-selling book _The Virtual Community_. The book later inspired the designs of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous stickers that advertised his artist career. \n \nSince Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included transgressive projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time and by fellow artists, was seen as parodistic, but whose motives seem more dubious if one reads up Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, \"Corpse Club\", in: Banana, Anna. _About VILE_. Vancouver: Banana Productions, 1983, p. 59-60.] \n\nIn retrospect, spamming, trolling, and political subcultures like the \"Alternative Right\" (\"Alt-Right\") were forecasted in \"The Eternal Network\". In his 2001 book _Networked Art_, Craig A. Saper characterized Mail Art practice as \"intimate bureaucracies\" in which artists effectively turned themselves into administrative network operators (or, in today's terminology: sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001.] Network administration means to cope with accidents, and catastrophes, in real-time, especially when - like in Mail Art, or in internet social media - the network is simultaneously the information carrier and, at least to some degree, the information itself. Pauline Smith's apartment was raided by the police in 1976, in the same year when her London collaborator and fellow mail artist Genesis P-Orridge was put on trial for using pornographic images on postcards. In both cases, it is difficult to state whether the \"Eternal Network's\" pre-digital social networking had _created_ accidents or _was_ the accident itself. \n\nThis question became even more difficult to answer when network bureaucracies became algorithmic regimes, and when the Eternal Network operators who worked in the manner of Mieko Shiomi and others - designing and dispatching prompts, assembling the feedback - were replaced by bots. In March 2016, Microsoft's research division launched _Tay_, an AI chat bot on Twitter. As opposed to most other commercial machine learning-based software today, this bot had not completed its training before it was launched, but used all chat interactions as its continued machine learning input. The launch historically coincidended with Donald Trump's first successful presidential campaign and its militant support through the extreme-right \"Alt Right\" in Internet meme and troll forums. After word about Tay had spread on the main \"Alt Right\" forum at that time (the \"/pol\" or \"politically incorrect\" board on the website 4chan), user interactions retrained Tay into an aggressively racist, fascist and Holocaust-denying chat bot within only few hours. 16 hours after its launch, Microsoft took Tay offline. \n\nTay does not seem to fit a linear cause-and-effect logic according to which technologies either create their own accidents and catastrophes (such as the invention of the car having resulted in ca. 1.3 million deaths per year in car accidents and another estimated 385,000 premature deaths through air pollution^[Anenberg, Susan, et al. \"A global snapshot of the air pollution-related health impacts of transportation sector emissions in 2010 and 2015.\" _International Council on Clean Transportation_, Washington, DC, USA (2019).]), or accidents and catastrophes conversely foster new technologies, such as modern information and computer technology born out of British and American defense against Nazi Germany, or the high-tech innovations of Dutch \"Delta Works\" water management after the country's flood catastrophe in 1953. As radically open feedback systems that digest their own networks, in largely unprotected modes, both Tay and Mail Art could be called simultaneous causes and effects of accidents. Their constructions are recipes for disaster, to the point where it becomes impossible to differentiate what is the technology and is the accident in them. In the case of Mail Art - but not of Microsoft -, this recipe and its possible consequences were even intentionally chosen by the artists, as a radical experiment, ultimately going back to Fluxus, and - beyond that - to John Cage's indeterministic composition, only that it no longer operated in safe space, \n\n as or that accidents create technologies. Instead: The accident is the technology and vice versa; the two cannot be differentiated.\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|6+uk*19+3z*19*i+3*1g*i+1*19*i+5*19+4g*1g+1*19+14*1g+1*19+ad*19*i+3*1g*i+1*19*i+5*19|2+5p*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|8+1oi*19+i7*19*i+h*19+y*19*i+7*19|4+8a*19*1b*1*3+1*19|7+1eu*19+ui*19*i+9*19+1g*19*i+a*19+1d*19*i+9*19+1*19*i+1*19+15*19*i+m*19+2f*19*i+o*19|4+1fx*19+6e*19*1h+o*19+41*19*i+e*19|4+1d0*19+cm*19*i+1v*19|7+10g*19*1b*1*3+1*19|7+xw*19*1a*1*3+1*19|4+vq*19+42*1g+1*19+mr*1g+1*19|2+cn*19+41*1g+1*19+b5*19*i+6*19|2+4n*19+5n*19*i+7*19+2*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*1*5*3+1*19|1+1*19*1*2*3+1*19|2+7m*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|1+y*19|2+2*0|1+1+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:17401":{"changeset":"Z:wap<1|2k=f0t=14y-1$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672107277150}},"pad:accidental-tech:revs:17402":{"changeset":"Z:wao>1|2k=f0t=14x-1*19+2$. 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system (through the MontrĂ©al-based group _SociĂšte de Conservation du PrĂ©sent_) and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York, through the Mail Artist Mark Bloch) and _The Well_ (San Francisco, through the periodical Artcom). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing company, became historicized in Howard Rheingold's 1993 best-selling book _The Virtual Community_. The book later inspired the designs of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous stickers that advertised his artist career. \n \nSince Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included transgressive projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time and by fellow artists, was seen as parodistic, but whose motives seem more dubious if one reads up Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, \"Corpse Club\", in: Banana, Anna. _About VILE_. Vancouver: Banana Productions, 1983, p. 59-60.] \n\nIn retrospect, spamming, trolling, and political subcultures like the \"Alternative Right\" (\"Alt-Right\") were forecasted in \"The Eternal Network\". In his 2001 book _Networked Art_, Craig A. Saper characterized Mail Art practice as \"intimate bureaucracies\" in which artists effectively turned themselves into administrative network operators (or, in today's terminology: sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001.] Network administration means to cope with accidents, and catastrophes, in real-time, especially when - like in Mail Art, or in internet social media - the network is simultaneously the information carrier and, at least to some degree, the information itself. Pauline Smith's apartment was raided by the police in 1976, in the same year when her London collaborator and fellow mail artist Genesis P-Orridge was put on trial for using pornographic images on postcards. In both cases, it is difficult to state whether the \"Eternal Network's\" pre-digital social networking had _created_ accidents or _was_ the accident itself. \n\nThis question became even more difficult to answer when network bureaucracies became algorithmic regimes, and when the Eternal Network operators who worked in the manner of Mieko Shiomi and others - designing and dispatching prompts, assembling the feedback - were replaced by bots. In March 2016, Microsoft's research division launched _Tay_, an AI chat bot on Twitter. As opposed to most other commercial machine learning-based software today, this bot had not completed its training before it was launched, but used all chat interactions as its continued machine learning input. The launch historically coincidended with Donald Trump's first successful presidential campaign and its militant support through the extreme-right \"Alt Right\" in Internet meme and troll forums. After word about Tay had spread on the main \"Alt Right\" forum at that time (the \"/pol\" or \"politically incorrect\" board on the website 4chan), user interactions retrained Tay into an aggressively racist, fascist and Holocaust-denying chat bot within only few hours. 16 hours after its launch, Microsoft took Tay offline. \n\nTay does not seem to fit a linear cause-and-effect logic according to which technologies either create their own accidents and catastrophes (such as the invention of the car having resulted in ca. 1.3 million deaths per year in car accidents and another estimated 385,000 premature deaths through air pollution^[Anenberg, Susan, et al. \"A global snapshot of the air pollution-related health impacts of transportation sector emissions in 2010 and 2015.\" _International Council on Clean Transportation_, Washington, DC, USA (2019).]), or accidents and catastrophes conversely foster new technologies, such as modern information and computer technology born out of British and American defense against Nazi Germany, or the high-tech innovations of Dutch \"Delta Works\" water management after the country's flood catastrophe in 1953. As radically open feedback systems that digest their own networks, in largely unprotected modes, both Tay and Mail Art could be called simultaneous causes and effects of accidents. Their constructions are recipes for disaster, to the point where it becomes impossible to differentiate what is the technology and is the accident in them. In the case of Mail Art - but not of Microsoft -, this recipe and its possible consequences were even intentionally chosen by the artists, as a radical experiment, ultimately going back to Fluxus, and - beyond that - to John Cage's indeterministic composition, only that it no longer operated in safe space, but in an open environment. Other open works (to use (Eco)'s term) such as Shiomi's Spatial Poem or Tristan Tzara's 1920 instruction to create a Dadaist poem by cutting out the words of a random news\n\n-> Think of other \"open artworks\" (Eco) such as Tzara's 19cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|6+uk*19+3z*19*i+3*1g*i+1*19*i+5*19+4g*1g+1*19+14*1g+1*19+ad*19*i+3*1g*i+1*19*i+5*19|2+5p*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|8+1oi*19+i7*19*i+h*19+y*19*i+7*19|4+8a*19*1b*1*3+1*19|7+1eu*19+ui*19*i+9*19+1g*19*i+a*19+1d*19*i+9*19+1*19*i+1*19+15*19*i+m*19+2f*19*i+o*19|4+1fx*19+6e*19*1h+o*19+41*19*i+e*19|4+1d0*19+cm*19*i+1v*19|5+12b*19*1b*1*3+1*19|7+xw*19*1a*1*3+1*19|4+vq*19+42*1g+1*19+mr*1g+1*19|2+cn*19+41*1g+1*19+b5*19*i+6*19|2+4n*19+5n*19*i+7*19+2*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*1*5*3+1*19|1+1*19*1*2*3+1*19|2+7m*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|1+y*19|2+2*0|1+1+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:17501":{"changeset":"Z:wck<7|2k=f0t=1a8-7$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672107443177}},"pad:accidental-tech:revs:17502":{"changeset":"Z:wcd>1|2k=f0t=1a7*19+1$n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672107444979}},"pad:accidental-tech:revs:17503":{"changeset":"Z:wce>4|2k=f0t=1a8*19+4$ 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system (through the MontrĂ©al-based group _SociĂšte de Conservation du PrĂ©sent_) and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York, through the Mail Artist Mark Bloch) and _The Well_ (San Francisco, through the periodical Artcom). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing company, became historicized in Howard Rheingold's 1993 best-selling book _The Virtual Community_. The book later inspired the designs of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous stickers that advertised his artist career. \n \nSince Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included transgressive projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time and by fellow artists, was seen as parodistic, but whose motives seem more dubious if one reads up Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, \"Corpse Club\", in: Banana, Anna. _About VILE_. Vancouver: Banana Productions, 1983, p. 59-60.] \n\nIn retrospect, spamming, trolling, and political subcultures like the \"Alternative Right\" (\"Alt-Right\") were forecasted in \"The Eternal Network\". In his 2001 book _Networked Art_, Craig A. Saper characterized Mail Art practice as \"intimate bureaucracies\" in which artists effectively turned themselves into administrative network operators (or, in today's terminology: sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001.] Network administration means to cope with accidents, and catastrophes, in real-time, especially when - like in Mail Art, or in internet social media - the network is simultaneously the information carrier and, at least to some degree, the information itself. Pauline Smith's apartment was raided by the police in 1976, in the same year when her London collaborator and fellow mail artist Genesis P-Orridge was put on trial for using pornographic images on postcards. In both cases, it is difficult to state whether the \"Eternal Network's\" pre-digital social networking had _created_ accidents or _was_ the accident itself. \n\nThis question became even more difficult to answer when network bureaucracies became algorithmic regimes, and when the Eternal Network operators who worked in the manner of Mieko Shiomi and others - designing and dispatching prompts, assembling the feedback - were replaced by bots. In March 2016, Microsoft's research division launched _Tay_, an AI chat bot on Twitter. As opposed to most other commercial machine learning-based software today, this bot had not completed its training before it was launched, but used all chat interactions as its continued machine learning input. The launch historically coincidended with Donald Trump's first successful presidential campaign and its militant support through the extreme-right \"Alt Right\" in Internet meme and troll forums. After word about Tay had spread on the main \"Alt Right\" forum at that time (the \"/pol\" or \"politically incorrect\" board on the website 4chan), user interactions retrained Tay into an aggressively racist, fascist and Holocaust-denying chat bot within only few hours. 16 hours after its launch, Microsoft took Tay offline. \n\nTay does not seem to fit a linear cause-and-effect logic according to which technologies either create their own accidents and catastrophes (such as the invention of the car having resulted in ca. 1.3 million deaths per year in car accidents and another estimated 385,000 premature deaths through air pollution^[Anenberg, Susan, et al. \"A global snapshot of the air pollution-related health impacts of transportation sector emissions in 2010 and 2015.\" _International Council on Clean Transportation_, Washington, DC, USA (2019).]), or accidents and catastrophes conversely foster new technologies, such as modern information and computer technology born out of the British and American defense against Nazi Germany, or the high-tech innovations of Dutch \"Delta Works\" water management after the country's flood catastrophe in 1953. As radically open feedback systems that digest their own networks, in largely unprotected modes, both Tay and Mail Art could be called simultaneous causes and effects of accidents. Their constructions are recipes for disaster, to the point where it becomes impossible to differentiate what is the technology and is the accident in them. In the case of Mail Art - but not of Microsoft -, this recipe and its possible consequences were even intentionally chosen by the artists, as a radical experiment, ultimately going back to Fluxus, and - beyond that - to John Cage's indeterministic composition, only that it no longer operated in safe space, but in an open environment. \n\nOther open works (to use (Eco)'s term) including Shiomi's Spatial Poem or Tristan Tzara's 1920 instruction to create a Dadaist poem by cutting out and randomly combining the words of an arbitrary newspaper article, could be escalated in similar ways to yield similar dynamics. In fact, a number of Fluxus pieces called \"Danger Music\" - \n\n-> Think of other \"open artworks\" (Eco) such as Tzara's 19cut-up Dadaist poem instruction or Shiomi's Spatial Poem and how easily could yield the same dynamic; 4chan itself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system (through the MontrĂ©al-based group _SociĂšte de Conservation du PrĂ©sent_) and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York, through the Mail Artist Mark Bloch) and _The Well_ (San Francisco, through the periodical Artcom). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing company, became historicized in Howard Rheingold's 1993 best-selling book _The Virtual Community_. The book later inspired the designs of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous stickers that advertised his artist career. \n \nSince Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included transgressive projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time and by fellow artists, was seen as parodistic, but whose motives seem more dubious if one reads up Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, \"Corpse Club\", in: Banana, Anna. _About VILE_. Vancouver: Banana Productions, 1983, p. 59-60.] \n\nIn retrospect, spamming, trolling, and political subcultures like the \"Alternative Right\" (\"Alt-Right\") were forecasted in \"The Eternal Network\". In his 2001 book _Networked Art_, Craig A. Saper characterized Mail Art practice as \"intimate bureaucracies\" in which artists effectively turned themselves into administrative network operators (or, in today's terminology: sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001.] Network administration means to cope with accidents, and catastrophes, in real-time, especially when - like in Mail Art, or in internet social media - the network is simultaneously the information carrier and, at least to some degree, the information itself. Pauline Smith's apartment was raided by the police in 1976, in the same year when her London collaborator and fellow mail artist Genesis P-Orridge was put on trial for using pornographic images on postcards. In both cases, it is difficult to state whether the \"Eternal Network's\" pre-digital social networking had _created_ accidents or _was_ the accident itself. \n\nThis question became even more difficult to answer when network bureaucracies became algorithmic regimes, and when the Eternal Network operators who worked in the manner of Mieko Shiomi and others - designing and dispatching prompts, assembling the feedback - were replaced by bots. In March 2016, Microsoft's research division launched _Tay_, an AI chat bot on Twitter. As opposed to most other commercial machine learning-based software today, this bot had not completed its training before it was launched, but used all chat interactions as its continued machine learning input. The launch historically coincidended with Donald Trump's first successful presidential campaign and its militant support through the extreme-right \"Alt Right\" in Internet meme and troll forums. After word about Tay had spread on the main \"Alt Right\" forum at that time (the \"/pol\" or \"politically incorrect\" board on the website 4chan), user interactions retrained Tay into an aggressively racist, fascist and Holocaust-denying chat bot within only few hours. 16 hours after its launch, Microsoft took Tay offline. \n\nTay does not seem to fit a linear cause-and-effect logic according to which technologies either create their own accidents and catastrophes (such as the invention of the car having resulted in ca. 1.3 million deaths per year in car accidents and another estimated 385,000 premature deaths through air pollution^[Anenberg, Susan, et al. \"A global snapshot of the air pollution-related health impacts of transportation sector emissions in 2010 and 2015.\" _International Council on Clean Transportation_, Washington, DC, USA (2019).]), or accidents and catastrophes conversely foster new technologies, such as modern information and computer technology born out of the British and American defense against Nazi Germany, or the high-tech innovations of Dutch \"Delta Works\" water management after the country's flood catastrophe in 1953. As radically open feedback systems that digest their own networks, in largely unprotected modes, both Tay and Mail Art could be called simultaneous causes and effects of accidents. Their constructions are recipes for disaster, to the point where it becomes impossible to differentiate what is the technology and is the accident in them. In the case of Mail Art - but not of Microsoft -, this recipe and its possible consequences were even intentionally chosen by the artists, as a radical experiment, ultimately going back to Fluxus, and - beyond that - to John Cage's indeterministic composition, only that it no longer operated in safe space, but in an open environment. \n\nOther open works (to use (Eco)'s term) including Shiomi's Spatial Poem or Tristan Tzara's 1920 instruction to create a Dadaist poem by cutting out and randomly combining the words of an arbitrary newspaper article, could be escalated in similar ways to yield similar catastrophic real-life dynamics. A number of Fluxus pieces called \"Danger Music\" - such as Takehisa Kosugi's 1964 instruction to \"[s]coop out one of your eyes 5 years from now and do the same with the other eye 5 years later\" - suggested this route. The example of Tay and 4chan suggests that contemporary Danger Mus\n\nitself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|6+uk*19+3z*19*i+3*1g*i+1*19*i+5*19+4g*1g+1*19+14*1g+1*19+ad*19*i+3*1g*i+1*19*i+5*19|2+5p*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|8+1oi*19+i7*19*i+h*19+y*19*i+7*19|4+8a*19*1b*1*3+1*19|7+1eu*19+ui*19*i+9*19+1g*19*i+a*19+1d*19*i+9*19+1*19*i+1*19+15*19*i+m*19+2f*19*i+o*19|4+1fx*19+6e*19*1h+o*19+41*19*i+e*19|4+1d0*19+cm*19*i+1v*19|7+19b*19*1b*1*3+1*19|7+xw*19*1a*1*3+1*19|4+vq*19+42*1g+1*19+mr*1g+1*19|2+cn*19+41*1g+1*19+b5*19*i+6*19|2+4n*19+5n*19*i+7*19+2*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*1*5*3+1*19|1+1*19*1*2*3+1*19|2+7m*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|1+y*19|2+2*0|1+1+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:17701":{"changeset":"Z:wjk>4|2m=g6r=g7*19+4$ic 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents in tool development\nIt would be a simplification if one would generally and sweepingly credit art for accidental technologies. The opposite is also true. For example, science fiction literature has historically served as a direct inspiration for research and development, particularly in the field of digital technology and artificial intelligence. (Computer hackers and enginneers happen to be among the most avid readers and viewers of science fiction literature, films and tv.) Effectively, science fiction has often served as a master plan for a technology, as an elaborate, systematically developed blueprint. \n\nThere's also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music where composition also encompasses the developm,ent of suitable hardware and software instruments, and in the development of community media tools, such in the 1970s video and democratic television activism of the artist collective Raindance Corporation, and today in the development of Open Source community tools in artist collectives such as Lifepatch, varia and Hackers & Designers. \n\nBut what if one doesn't optimistically look at accidents in artists' technological _poiesis_, but at accidents in the sense of prosaic, or even catastrophic, failure? The Otto Muehl commune, which began as an social-artistic experiment and ended in criminal convicitions for systematic sexual abuse, may be the strongest example of such a catastrophe in recent art practice, but it remains debatable whether it intrinsically resulted from the commune's socio-psychological technology (which also included a computer program that generated a randomized daily \"fuck list\" for commune members in order to prevent them from establishing traditional family relations). \n\n Mail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities even were direct precursors to online social media, via a number of Mail Art electronic dial-up computer systems (\"BBS\") that existed in the 1980s to 1990s, and via Mail Art discussion boards on proto-Internet social media such as the Canadian version of the French Minitel system (through the MontrĂ©al-based group _SociĂšte de Conservation du PrĂ©sent_) and the U.S. American dial-up computer discussion boards _EchoNYC_ (New York, through the Mail Artist Mark Bloch) and _The Well_ (San Francisco, through the periodical Artcom). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing company, became historicized in Howard Rheingold's 1993 best-selling book _The Virtual Community_. The book later inspired the designs of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous stickers that advertised his artist career. \n \nSince Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included transgressive projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time and by fellow artists, was seen as parodistic, but whose motives seem more dubious if one reads up Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, \"Corpse Club\", in: Banana, Anna. _About VILE_. Vancouver: Banana Productions, 1983, p. 59-60.] \n\nIn retrospect, spamming, trolling, and political subcultures like the \"Alternative Right\" (\"Alt-Right\") were forecasted in \"The Eternal Network\". In his 2001 book _Networked Art_, Craig A. Saper characterized Mail Art practice as \"intimate bureaucracies\" in which artists effectively turned themselves into administrative network operators (or, in today's terminology: sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001.] Network administration means to cope with accidents, and catastrophes, in real-time, especially when - like in Mail Art, or in internet social media - the network is simultaneously the information carrier and, at least to some degree, the information itself. Pauline Smith's apartment was raided by the police in 1976, in the same year when her London collaborator and fellow mail artist Genesis P-Orridge was put on trial for using pornographic images on postcards. In both cases, it is difficult to state whether the \"Eternal Network's\" pre-digital social networking had _created_ accidents or _was_ the accident itself. \n\nThis question became even more difficult to answer when network bureaucracies became algorithmic regimes, and when the Eternal Network operators who worked in the manner of Mieko Shiomi and others - designing and dispatching prompts, assembling the feedback - were replaced by bots. In March 2016, Microsoft's research division launched _Tay_, an AI chat bot on Twitter. As opposed to most other commercial machine learning-based software today, this bot had not completed its training before it was launched, but used all chat interactions as its continued machine learning input. The launch historically coincidended with Donald Trump's first successful presidential campaign and its militant support through the extreme-right \"Alt Right\" in Internet meme and troll forums. After word about Tay had spread on the main \"Alt Right\" forum at that time (the \"/pol\" or \"politically incorrect\" board on the website 4chan), user interactions retrained Tay into an aggressively racist, fascist and Holocaust-denying chat bot within only few hours. 16 hours after its launch, Microsoft took Tay offline. \n\nTay does not seem to fit a linear cause-and-effect logic according to which technologies either create their own accidents and catastrophes (such as the invention of the car having resulted in ca. 1.3 million deaths per year in car accidents and another estimated 385,000 premature deaths through air pollution^[Anenberg, Susan, et al. \"A global snapshot of the air pollution-related health impacts of transportation sector emissions in 2010 and 2015.\" _International Council on Clean Transportation_, Washington, DC, USA (2019).]), or accidents and catastrophes conversely foster new technologies, such as modern information and computer technology born out of the British and American defense against Nazi Germany, or the high-tech innovations of Dutch \"Delta Works\" water management after the country's flood catastrophe in 1953. As radically open feedback systems that digest their own networks, in largely unprotected modes, both Tay and Mail Art could be called simultaneous causes and effects of accidents. Their constructions are recipes for disaster, to the point where it becomes impossible to differentiate what is the technology and is the accident in them. In the case of Mail Art - but not of Microsoft -, this recipe and its possible consequences were even intentionally chosen by the artists, as a radical experiment, ultimately going back to Fluxus, and - beyond that - to John Cage's indeterministic composition, only that it no longer operated in safe space, but in an open environment. \n\nOther open works (to use (Eco)'s term) including Shiomi's Spatial Poem or Tristan Tzara's 1920 instruction to create a Dadaist poem by cutting out and randomly combining the words of an arbitrary newspaper article, could be escalated in similar ways to yield similar catastrophic real-life dynamics. A number of Fluxus pieces called \"Danger Music\" - such as Takehisa Kosugi's 1964 instruction to \"[s]coop out one of your eyes 5 years from now and do the same with the other eye 5 years later\" - suggested this route. The example of Tay and 4chan suggests that contemporary Danger Music no longer plays in the arts, but in digital technology, with 4chan itself being perhaps the best example of a catastrophic cybernetic heir of Dada, of technology as catastrophe, and c as technology.\n\nitself being a perfect example of technology=accident.\n\n\n*### lens 5: aestheticized technology\n\nOn the other hand, the example of TikTok illustrates how, since the Internet boom of the 1990s, technology itself has become aesthetic; perhaps even to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) makes a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|6+uk*19+3z*19*i+3*1g*i+1*19*i+5*19+4g*1g+1*19+14*1g+1*19+ad*19*i+3*1g*i+1*19*i+5*19|2+5p*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|8+1oi*19+i7*19*i+h*19+y*19*i+7*19|4+8a*19*1b*1*3+1*19|7+1eu*19+ui*19*i+9*19+1g*19*i+a*19+1d*19*i+9*19+1*19*i+1*19+15*19*i+m*19+2f*19*i+o*19|4+1fx*19+6e*19*1h+o*19+41*19*i+e*19|4+1d0*19+cm*19*i+1v*19|7+1ew*19*1b*1*3+1*19|7+xw*19*1a*1*3+1*19|4+vq*19+42*1g+1*19+mr*1g+1*19|2+cn*19+41*1g+1*19+b5*19*i+6*19|2+4n*19+5n*19*i+7*19+2*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*1*5*3+1*19|1+1*19*1*2*3+1*19|2+7m*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|1+y*19|2+2*0|1+1+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:17801":{"changeset":"Z:wp5>3|2m=g6r=ld*19+3$ata","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672108414199}},"pad:accidental-tech:revs:17802":{"changeset":"Z:wp8>2|2m=g6r=lg*19+2$st","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672108414801}},"pad:accidental-tech:revs:17803":{"changeset":"Z:wpa>4|2m=g6r=li*19+4$roph","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672108415305}},"pad:accidental-tech:revs:17804":{"changeset":"Z:wpe>1|2m=g6r=lm*19+1$e","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672108415800}},"pad:accidental-tech:revs:17805":{"changeset":"Z:wpf<1j|2o=gsv|1-1j$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672108417507}},"pad:accidental-tech:revs:17806":{"changeset":"Z:wnw<1|2n=gsu|1-1$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672108418007}},"pad:accidental-tech:revs:17807":{"changeset":"Z:wnv1|2r=gtz*19+1$E","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672108514004}},"pad:accidental-tech:revs:17810":{"changeset":"Z:wnd>4|2r=gtz=1*19+4$ven 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The opposite is also true. Science fiction literature, for example, has historically served as a direct inspiration of research and development, especially in the fields of digital technology and artificial intelligence. (Computer hackers and engineers are known to be among the most ardent readers and viewers of science fiction literature, movies, and television). Science fiction has often functioned as a master plan for a technology, as an elaborate, systematically crafted blueprint. ","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672109024938}},"pad:accidental-tech:revs:17855":{"changeset":"Z:x3g1|29=9w4=ej*19|1+1$\n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672109073683}},"pad:accidental-tech:revs:17858":{"changeset":"Z:wmw>1|2a=aao*19|1+1$\n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672109074182}},"pad:accidental-tech:revs:17859":{"changeset":"Z:wmx>ef|2b=aap*19+ef$There is also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music, where composition includes the development of matching hardware and software instruments, and in the development of community media tools, as in the video and democratic television activism of the 1970s artists' collective Raindance Corporation, and today in the development of Open Source community tools in artists' collectives such as Lifepatch, varia, and Hackers & Designers. ","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672109074684}},"pad:accidental-tech:revs:17860":{"changeset":"Z:x1c1|2b=aal=ig*19|1+1$\n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672109113616}},"pad:accidental-tech:revs:17864":{"changeset":"Z:wms>2|2c=at2*19|2+2$\n\n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672109114114}},"pad:accidental-tech:revs:17865":{"changeset":"Z:wmu>in|2d=at3*19+in$But what if one does not look optimistically at accidents in the technological _poiesis_ of artists, but at accidents in the sense of prosaic or even catastrophic failure? The Otto Muehl commune, which began as a socio-artistic experiment and ended with criminal convictions for systematic sexual abuse, is perhaps the most striking example of such a catastrophe in recent art practice, but it remains questionable whether that catastrophe was really due to the commune's socio-psychological technology (which included a computer program that generated a randomly generated daily \"fuck list\" for communards to prevent them from forging traditional family relationships). 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The book later inspired the designs of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous sticker\n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672109461658}},"pad:accidental-tech:revs:17883":{"changeset":"Z:wmm>1|2d=asu=kp*19+1$i","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672109462156}},"pad:accidental-tech:revs:17884":{"changeset":"Z:wmn>2|2d=asu=kq*19+2$n 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents and open systems\n\nIt would be oversimplifying to generally and sweepingly attribute accidental technologies to art. The opposite is also true. Science fiction literature, for example, has historically served as a direct inspiration of research and development, especially in the fields of digital technology and artificial intelligence. (Computer hackers and engineers are known to be among the most ardent readers and viewers of science fiction literature, movies, and television). Science fiction has often functioned as a master plan for a technology, as an elaborate, systematically crafted blueprint. \n\nThere is also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music, where composition includes the development of matching hardware and software instruments, and in the development of community media tools, as in the video and democratic television activism of the 1970s artists' collective Raindance Corporation, and today in the development of Open Source community tools in artists' collectives such as Lifepatch, varia, and Hackers & Designers. \n\nBut what if one does not look optimistically at accidents in the technological _poiesis_ of artists, but at accidents in the sense of prosaic or even catastrophic failure? The Otto Muehl commune, which began as a socio-artistic experiment and ended with criminal convictions for systematic sexual abuse, is perhaps the most striking example of such a catastrophe in recent art practice. But it remains debatable whether that catastrophe was really due to the commune's social technology (which included a computer program that generated a randomly generated daily \"fuck list\" for communards to prevent them from forging traditional family relationships). \n\nMail Art, which had originated in largely the same 1960s countercultural-performative art scene as the Muehl commune, experienced multiple structural problems on the level of its networking infrastructure and protocols. Its prototyping of Internet social media happened partly accidentally, since its orginal objective had not been an alternative system of mass communication, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When became \"The Eternal Network\", ultimately dissociating itself from art, it not only prototyped Internet social media, but also its operational issues.^[In some cases, Mail Art communities were direct precursors to online social media, for example in electronic dial-up computer systems (\"BBSs\") that existed in the 1980s to 1990s and via Mail Art discussion boards on proto-Internet dial-up social media such as the U.S. American computer discussion boards _EchoNYC_ (New York, where the Mail Artist Mark Bloch) and _The Well_ (San Francisco, through the periodical Artcom). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing company, became historicized in Howard Rheingold's 1993 best-selling book _The Virtual Community_. The book later inspired the designs of large-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art already in the 1970s. Many of its participants later testified that they gave up because of the quantities of \"junk mail\", mostly coming from people who used Mail Art as a low-entry system for becoming part of publications and exhibitions. Effectively, the \"Eternal Network\" was used as a vehicle of self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini who used Mail Art to spread his individual brand in the form of ubiquitous sticker\ns that adve\nrtised his artist career. \n \nSince Mail Artists had as their code of conduct not to refuse any contribution, there was no structural solution to the problem. In addition, the open participation and free speech ethos in some cases meant that questionable contributions were accepted and multiplied, such as a series of antisemitic caricatures in a 1975 issue of the San Francisco-based Mail Art zine _VILE_ that bear striking visual similarity with the contemporary antisemitic Internet meme of the \"happy merchant\". \"The Eternal Network\" also included transgressive projects such as the \"Adolf Hitler fanclub\" of the British mail artist Pauline Smith which, in its time and by fellow artists, was seen as parodistic, but whose motives seem more dubious if one reads up Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, \"Corpse Club\", in: Banana, Anna. _About VILE_. Vancouver: Banana Productions, 1983, p. 59-60.] \n\nIn retrospect, spamming, trolling, and political subcultures like the \"Alternative Right\" (\"Alt-Right\") were forecasted in \"The Eternal Network\". In his 2001 book _Networked Art_, Craig A. Saper characterized Mail Art practice as \"intimate bureaucracies\" in which artists effectively turned themselves into administrative network operators (or, in today's terminology: sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001.] Network administration means to cope with accidents, and catastrophes, in real-time, especially when - like in Mail Art, or in internet social media - the network is simultaneously the information carrier and, at least to some degree, the information itself. Pauline Smith's apartment was raided by the police in 1976, in the same year when her London collaborator and fellow mail artist Genesis P-Orridge was put on trial for using pornographic images on postcards. In both cases, it is difficult to state whether the \"Eternal Network's\" pre-digital social networking had _created_ accidents or _was_ the accident itself. \n\nThis question became even more difficult to answer when network bureaucracies became algorithmic regimes, and when the Eternal Network operators who worked in the manner of Mieko Shiomi and others - designing and dispatching prompts, assembling the feedback - were replaced by bots. In March 2016, Microsoft's research division launched _Tay_, an AI chat bot on Twitter. As opposed to most other commercial machine learning-based software today, this bot had not completed its training before it was launched, but used all chat interactions as its continued machine learning input. The launch historically coincidended with Donald Trump's first successful presidential campaign and its militant support through the extreme-right \"Alt Right\" in Internet meme and troll forums. After word about Tay had spread on the main \"Alt Right\" forum at that time (the \"/pol\" or \"politically incorrect\" board on the website 4chan), user interactions retrained Tay into an aggressively racist, fascist and Holocaust-denying chat bot within only few hours. 16 hours after its launch, Microsoft took Tay offline. \n\nTay does not seem to fit a linear cause-and-effect logic according to which technologies either create their own accidents and catastrophes (such as the invention of the car having resulted in ca. 1.3 million deaths per year in car accidents and another estimated 385,000 premature deaths through air pollution^[Anenberg, Susan, et al. \"A global snapshot of the air pollution-related health impacts of transportation sector emissions in 2010 and 2015.\" _International Council on Clean Transportation_, Washington, DC, USA (2019).]), or accidents and catastrophes conversely foster new technologies, such as modern information and computer technology born out of the British and American defense against Nazi Germany, or the high-tech innovations of Dutch \"Delta Works\" water management after the country's flood catastrophe in 1953. As radically open feedback systems that digest their own networks, in largely unprotected modes, both Tay and Mail Art could be called simultaneous causes and effects of accidents. Their constructions are recipes for disaster, to the point where it becomes impossible to differentiate what is the technology and is the accident in them. In the case of Mail Art - but not of Microsoft -, this recipe and its possible consequences were even intentionally chosen by the artists, as a radical experiment, ultimately going back to Fluxus, and - beyond that - to John Cage's indeterministic composition, only that it no longer operated in safe space, but in an open environment. \n\nOther open works (to use (Eco)'s term) including Shiomi's Spatial Poem or Tristan Tzara's 1920 instruction to create a Dadaist poem by cutting out and randomly combining the words of an arbitrary newspaper article, could be escalated in similar ways to yield similar catastrophic real-life dynamics. A number of Fluxus pieces called \"Danger Music\" - such as Takehisa Kosugi's 1964 instruction to \"[s]coop out one of your eyes 5 years from now and do the same with the other eye 5 years later\" - suggested this route. The example of Tay and 4chan suggests that contemporary Danger Music no longer plays in the arts, but in digital technology, with 4chan itself being perhaps the best example of a catastrophic cybernetic heir of Dada, of technology as catastrophe, and catastrophe as technology.\n\n\n*### lens 5: aestheticized technology\n\nEven the miler example of TikTok illustrates how, since the Internet boom of the 1990s, technology has become aesthetic to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) may make a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|6+uk*19+3z*19*i+3*1g*i+1*19*i+5*19+4g*1g+1*19+14*1g+1*19+ad*19*i+3*1g*i+1*19*i+5*19|2+5p*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|8+1oi*19+i7*19*i+h*19+y*19*i+7*19|4+8a*19*1b*1*3+1*19|8+1e8*19+qk*19*i+9*19+1e*19*i+a*19+1d*19*i+9*19+1*19*i+1*19+15*19*i+m*19+2f*19*i+o*19|6+1fz*19+6e*19*1h+o*19+41*19*i+e*19|4+1d0*19+cm*19*i+1v*19|5+1dm*19*1b*1*3+1*19|7+x6*19*1a*1*3+1*19|4+vq*19+42*1g+1*19+mr*1g+1*19|2+cn*19+41*1g+1*19+b5*19*i+6*19|2+4n*19+5n*19*i+7*19+2*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*1*5*3+1*19|1+1*19*1*2*3+1*19|2+7m*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|1+y*19|2+2*0|1+1+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:17901":{"changeset":"Z:wil>1|2d=asu=s0*19+1$ 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Its prototyping of social Internet media happened partly by accident, since its original goal was not an alternative mass communication system, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When it became \"The Eternal Network\" and eventually dissociated itself from art, it not only anticipated Internet social media, but also their operational issues.","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672109834016}},"pad:accidental-tech:revs:17931":{"changeset":"Z:wyd<2|2h=c7x=31-3*19+1$e","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672109846848}},"pad:accidental-tech:revs:17932":{"changeset":"Z:wyb>4|2h=c7x=32*19+4$xper","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672109847345}},"pad:accidental-tech:revs:17933":{"changeset":"Z:wyf>4|2h=c7x=36*19+4$ienc","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672109847846}},"pad:accidental-tech:revs:17934":{"changeset":"Z:wyj>2|2h=c7x=3a*19+2$ed","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672109848347}},"pad:accidental-tech:revs:17935":{"changeset":"Z:wyl<7|2h=c7x=6b-7$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672109859369}},"pad:accidental-tech:revs:17936":{"changeset":"Z:wye>7|2h=c7x=6k*19+7$social ","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672109860272}},"pad:accidental-tech:revs:17937":{"changeset":"Z:wyl<9|2h=c7x=e6-a*19+1$g","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672109885130}},"pad:accidental-tech:revs:17938":{"changeset":"Z:wyc>3|2h=c7x=e7*19+3$rad","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672109885630}},"pad:accidental-tech:revs:17939":{"changeset":"Z:wyf>4|2h=c7x=ea*19+4$uall","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672109886131}},"pad:accidental-tech:revs:17940":{"changeset":"Z:wyj>1|2h=c7x=ee*19+1$y","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672109886632}},"pad:accidental-tech:revs:17941":{"changeset":"Z:wyk4|2h=c7x=fm*19+4$roto","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672109896859}},"pad:accidental-tech:revs:17943":{"changeset":"Z:wye>1|2h=c7x=fq*19+1$t","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672109897662}},"pad:accidental-tech:revs:17944":{"changeset":"Z:wyf>4|2h=c7x=fr*19+4$yped","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672109898162}},"pad:accidental-tech:revs:17945":{"changeset":"Z:wyjfj|2e=c7b*19+fj$Spam became a problem in Mail Art as early as in the 1970s. Many of the participants later testified that they had given up because of vast amounts of \"junk mail,\" most of which came from people who used Mail Art as a low-threshold system to become part of publications and exhibitions. The \" Eternal Network \" was effectively employed as a vehicle for self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini, who used Mail Art to disseminate his individual brand in the form of ubiquitous stickers promoting his artist career. ","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672110192420}},"pad:accidental-tech:revs:17950":{"changeset":"Z:ww0>1|2d=asu=1eg*19|1+1$\n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672110194121}},"pad:accidental-tech:revs:17951":{"changeset":"Z:ww1<2|2f=c7c=1w-3*19+1$i","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672110202028}},"pad:accidental-tech:revs:17952":{"changeset":"Z:wvz>2|2f=c7c=1x*19+2$ts","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672110202530}},"pad:accidental-tech:revs:17953":{"changeset":"Z:ww1<1|2f=c7c=84-1$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672110231667}},"pad:accidental-tech:revs:17954":{"changeset":"Z:ww0<1|2f=c7c=8j-1$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672110234180}},"pad:accidental-tech:revs:17955":{"changeset":"Z:wvz2|2h=c7w=3a*19+2$is","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672110325471}},"pad:accidental-tech:revs:17959":{"changeset":"Z:wgy<1|2f=c7t|1-1$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672110332889}},"pad:accidental-tech:revs:17960":{"changeset":"Z:wgx<1|2e=c7s|1-1$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672110333389}},"pad:accidental-tech:revs:17961":{"changeset":"Z:wgw>1|2f=c7u=y7*19|1+1$\n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672110669235}},"pad:accidental-tech:revs:17962":{"changeset":"Z:wgx>1|2g=d62*19|1+1$\n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672110669731}},"pad:accidental-tech:revs:17963":{"changeset":"Z:wgy>lb|2h=d63*19+lb$Since the mail artists had made a commitment in their code of conduct not to ever reject any submissions, there was no structural solution to this problem. In addition, the ethos of open participation and free speech sometimes led to questionable submissions being accepted and disseminated, such as a series of anti-Semitic cartoons in a 1975 issue of the San Francisco mail art zine _VILE_ that bear a striking visual resemblance to today's anti-Semitic Internet meme of the \"Happy Merchant.\" Also part of the \"Eternal Network\" were transgressive projects such as British mail artist Pauline Smith's \"Adolf Hitler Fan Club,\" which was perceived as quixotic in its time and by fellow artists, but whose motives seem dubious when one reads Smith's comments on Hitler.","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672110670232}},"pad:accidental-tech:revs:17964":{"changeset":"Z:x29<4|2h=d63=6-4$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672110676843}},"pad:accidental-tech:revs:17965":{"changeset":"Z:x25>0|2h=d63=6-1*19+1$M","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672110677846}},"pad:accidental-tech:revs:17966":{"changeset":"Z:x25>0|2h=d63=b-1*19+1$A","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672110679250}},"pad:accidental-tech:revs:17967":{"changeset":"Z:x251|2h=d63=3z*19+1$i","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672110702450}},"pad:accidental-tech:revs:17970":{"changeset":"Z:x1h>1|2h=d63=40*19+1$r","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672110702951}},"pad:accidental-tech:revs:17971":{"changeset":"Z:x1i<8|2h=d63=42-8$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672110705656}},"pad:accidental-tech:revs:17972":{"changeset":"Z:x1a>1|2h=d63=51*19+1$ ","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672110707259}},"pad:accidental-tech:revs:17973":{"changeset":"Z:x1b>4|2h=d63=52*19+4$etho","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672110707760}},"pad:accidental-tech:revs:17974":{"changeset":"Z:x1f>1|2h=d63=56*19+1$s","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672110708260}},"pad:accidental-tech:revs:17975":{"changeset":"Z:x1g<7|2h=d63=89-7$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672110719719}},"pad:accidental-tech:revs:17976":{"changeset":"Z:x19>2|2h=d63=89*19+2$ar","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672110720220}},"pad:accidental-tech:revs:17977":{"changeset":"Z:x1b>2|2h=d63=8b*19+2$ic","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672110720719}},"pad:accidental-tech:revs:17978":{"changeset":"Z:x1d>2|2h=d63=8d*19+2$at","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672110721223}},"pad:accidental-tech:revs:17979":{"changeset":"Z:x1f>4|2h=d63=8f*19+4$ures","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672110721823}},"pad:accidental-tech:revs:17980":{"changeset":"Z:x1j0|2i=d5c=b|1-tm*19|1+1*19+63*19*1h+o*19+41*19*i+e*19+if$\nct, spamming, trolling, and political subcultures like the \"Alternative Right\" (\"Alt-Right\") were forecasted in \"The Eternal Network\". In his 2001 book _Networked Art_, Craig A. Saper characterized Mail Art practice as \"intimate bureaucracies\" in which artists effectively turned themselves into administrative network operators (or, in today's terminology: sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001.] Network administration means to cope with accidents, and catastrophes, in real-time, especially when - like in Mail Art, or in internet social media - the network is simultaneously the information carrier and, at least to some degree, the information itself. Pauline Smith's apartment was raided by the police in 1976, in the same year when her London collaborator and fellow mail artist Genesis P-Orridge was put on trial for using pornographic images on postcards. In both cases, it is difficult to state whether the \"Eternal Network's\" pre-digital social networking had _created_ accidents or _was_ the accident itself. ","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672110811904}},"pad:accidental-tech:revs:17985":{"changeset":"Z:wg5>0|2i=d5c=b|1-1-tl*19+63*19*1h+o*19+41*19*i+e*19|1+ig$ct, spamming, trolling, and political subcultures like the \"Alternative Right\" (\"Alt-Right\") were forecasted in \"The Eternal Network\". In his 2001 book _Networked Art_, Craig A. Saper characterized Mail Art practice as \"intimate bureaucracies\" in which artists effectively turned themselves into administrative network operators (or, in today's terminology: sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001.] Network administration means to cope with accidents, and catastrophes, in real-time, especially when - like in Mail Art, or in internet social media - the network is simultaneously the information carrier and, at least to some degree, the information itself. Pauline Smith's apartment was raided by the police in 1976, in the same year when her London collaborator and fellow mail artist Genesis P-Orridge was put on trial for using pornographic images on postcards. In both cases, it is difficult to state whether the \"Eternal Network's\" pre-digital social networking had _created_ accidents or _was_ the accident itself. \n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672110812407}},"pad:accidental-tech:revs:17986":{"changeset":"Z:wg5>1|2i=d5c=tw*19|1+1$\n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672111061189}},"pad:accidental-tech:revs:17987":{"changeset":"Z:wg6>1|2j=dz9*19|1+1$\n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672111061788}},"pad:accidental-tech:revs:17988":{"changeset":"Z:wg7>t4|2k=dza*19+t4$In retrospect, spamming, trolling, and political subcultures such as the \"Alternative Right\" (\"Alt-Right\") were prefigured in \"The Eternal Network.\" In his 2001 book _Networked Art_, Craig A. Saper characterizes the practices of mail art as \"intimate bureaucracies\" through which artists effectively became administrative network operators (or, in today's terminology, sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001] Network administration is about managing accidents and disasters in real time, especially when, as with mail art or social media on the Internet, the network is both the information carrier and, at least to some degree, the information itself. Pauline Smith's apartment was raided by police in 1976, the same year that her London colleague and fellow mail artist Genesis P-Orridge was on trial for having put pornographic images on postcards. In both cases, it is difficult to say whether the pre-digital social networks of the \"Eternal Network\" _caused_ accidents or _were_ the accident itself. ","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672111062288}},"pad:accidental-tech:revs:17989":{"changeset":"Z:x9b<45|2k=dza-45$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672111076923}},"pad:accidental-tech:revs:17990":{"changeset":"Z:x56>3|2i=d5c=1p-2c*19+2f$such as the \"Alternative Right\" (\"Alt-Right\") were prefigured in \"The Eternal Network.\"","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672111081333}},"pad:accidental-tech:revs:17991":{"changeset":"Z:x590|2k=dzd=1v-1*19+1$<","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672111096866}},"pad:accidental-tech:revs:17993":{"changeset":"Z:x4w>0|2k=dzd=1v-1*19+1$M","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672111099064}},"pad:accidental-tech:revs:17994":{"changeset":"Z:x4w>1|2k=dzd=20*19+1$A","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672111100469}},"pad:accidental-tech:revs:17995":{"changeset":"Z:x4x<1|2k=dzd=21-1$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672111101369}},"pad:accidental-tech:revs:17996":{"changeset":"Z:x4w>1|2k=dzd=23*19+1$ ","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672111102073}},"pad:accidental-tech:revs:17997":{"changeset":"Z:x4x>2|2k=dzd=24*19+2$pr","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672111102574}},"pad:accidental-tech:revs:17998":{"changeset":"Z:x4z>4|2k=dzd=26*19+4$acti","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672111103073}},"pad:accidental-tech:revs:17999":{"changeset":"Z:x53>2|2k=dzd=2a*19+2$ce","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672111103576}},"pad:accidental-tech:revs:18000":{"changeset":"Z:x55<4|2k=dzd=1r-4$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672111116412,"pool":{"numToAttrib":{"0":["author","a.JEqAYyDjjr7nBbrP"],"1":["insertorder","first"],"2":["list","indent1"],"3":["lmkr","1"],"4":["list","indent2"],"5":["list","indent3"],"6":["author",""],"7":["bold","true"],"8":["font-size","20"],"9":["align","center"],"10":["list","indent4"],"11":["list","indent5"],"12":["list","indent6"],"13":["list","indent12"],"14":["list","indent16"],"15":["list","bullet1"],"16":["start","1"],"17":["start","2"],"18":["italic","true"],"19":["underline","true"],"20":["start","3"],"21":["start","4"],"22":["font-size:20","true"],"23":["author","a.LowjiYmxoyQ4UIpr"],"24":["list","indent8"],"25":["list","indent9"],"26":["list","indent10"],"27":["list","indent11"],"28":["italic",""],"29":["author","a.SHnZ8wHiOJAZKNhH"],"30":["start","5"],"31":["start","6"],"32":["start","7"],"33":["start","8"],"34":["heading","h1"],"35":["start","9"],"36":["list","number1"],"37":["author","a.9xyfdTK9d5vlYgmS"],"38":["comment","c-brDIW14twuzORXOD"],"39":["author","a.ERPqZS7yHknYSYTK"],"40":["align","right"],"41":["font-size","12"],"42":["font-size","18"],"43":["font-size:18","true"],"44":["align","left"],"45":["author","a.3khkb9iB0qgHltWi"],"46":["heading","h2"],"47":["heading","h3"],"48":["color","blue"],"49":["color","red"],"50":["color",""],"51":["comment","c-WQqkYQpfC02O17ks"],"52":["author","a.yg5Vzgv9ee2U9Imc"],"53":["comment","c-e9eIdpm0yw039ff4"]},"attribToNum":{"author,a.JEqAYyDjjr7nBbrP":0,"insertorder,first":1,"list,indent1":2,"lmkr,1":3,"list,indent2":4,"list,indent3":5,"author,":6,"bold,true":7,"font-size,20":8,"align,center":9,"list,indent4":10,"list,indent5":11,"list,indent6":12,"list,indent12":13,"list,indent16":14,"list,bullet1":15,"start,1":16,"start,2":17,"italic,true":18,"underline,true":19,"start,3":20,"start,4":21,"font-size:20,true":22,"author,a.LowjiYmxoyQ4UIpr":23,"list,indent8":24,"list,indent9":25,"list,indent10":26,"list,indent11":27,"italic,":28,"author,a.SHnZ8wHiOJAZKNhH":29,"start,5":30,"start,6":31,"start,7":32,"start,8":33,"heading,h1":34,"start,9":35,"list,number1":36,"author,a.9xyfdTK9d5vlYgmS":37,"comment,c-brDIW14twuzORXOD":38,"author,a.ERPqZS7yHknYSYTK":39,"align,right":40,"font-size,12":41,"font-size,18":42,"font-size:18,true":43,"align,left":44,"author,a.3khkb9iB0qgHltWi":45,"heading,h2":46,"heading,h3":47,"color,blue":48,"color,red":49,"color,":50,"comment,c-WQqkYQpfC02O17ks":51,"author,a.yg5Vzgv9ee2U9Imc":52,"comment,c-e9eIdpm0yw039ff4":53},"nextNum":54},"atext":{"text":"*đŸ”¶ đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\" - and its Greek predecessor \"technē\" - into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses - that is, the executed prompt - and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967) - which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the historical blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most imaginative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts - wherever they lost their traditional functions of mimesis and representation - operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nonkrong elevate accident to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions - from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator* - were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions - such as those that participated in documenta fifteen in 2022 - whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation - and if this \"self\" is increasingly collectivized and extended to entire communities - how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents and open systems\n\nIt would be oversimplifying to generally and sweepingly attribute accidental technologies to art. The opposite is also true. Science fiction literature, for example, has historically served as a direct inspiration of research and development, especially in the fields of digital technology and artificial intelligence. (Computer hackers and engineers are known to be among the most ardent readers and viewers of science fiction literature, movies, and television). Science fiction has often functioned as a master plan for a technology, as an elaborate, systematically crafted blueprint. \n\nThere is also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music, where composition includes the development of matching hardware and software instruments, and in the development of community media tools, as in the video and democratic television activism of the 1970s artists' collective Raindance Corporation, and today in the development of Open Source community tools in artists' collectives such as Lifepatch, varia, and Hackers & Designers. \n\nBut what if one does not look optimistically at accidents in the technological _poiesis_ of artists, but at accidents in the sense of prosaic or even catastrophic failure? The Otto Muehl commune, which began as a socio-artistic experiment and ended with criminal convictions for systematic sexual abuse, is perhaps the most striking example of such a catastrophe in recent art practice. But it remains debatable whether that catastrophe was really due to the commune's social technology (which included a computer program that generated a randomly generated daily \"fuck list\" for communards to prevent them from forging traditional family relationships). \n\nMail art, which had emerged from the same 1960s countercultural-performative art scene as the Muehl commune, experienced numerous structural problems at the level of its network infrastructure and protocols. Its prototyping of Internet social media happened partly by accident, since its original goal was not an alternative mass communication system, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When it became \"The Eternal Network\" and gradually dissociated itself from art, it not only prototyped Internet social media, but also their operational issues.^[In some cases, Mail Art communities were direct precursors to online social media, for example in electronic dial-up computer systems (\"BBSs\") that existed in the 1980s to 1990s and via Mail Art discussion boards on proto-Internet dial-up social media such as the U.S. American computer discussion boards _EchoNYC_ (New York) and _The Well_ (San Francisco). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing company, was historicized in Howard Rheingold's 1993 best-selling book _The Virtual Community_. This book likely inspired the designs of later, larger-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art as early as in the 1970s. Many of its participants later testified that they had given up because of vast amounts of \"junk mail,\" most of which came from people who used Mail Art as a low-threshold system to become part of publications and exhibitions. The \"Eternal Network\" was effectively employed as a vehicle for self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini, who used Mail Art to disseminate his individual brand in the form of ubiquitous stickers promoting his artist career. \n \nSince Mail Artists had made a commitment not to ever reject any submissions, there was no structural solution to this problem. In addition, their open participation and free speech ethos sometimes led to questionable submissions being accepted and disseminated, such as a series of anti-Semitic caricatures in a 1975 issue of the San Francisco mail art zine _VILE_ that bear a striking visual resemblance to today's anti-Semitic Internet meme of the \"Happy Merchant.\" Also part of the \"Eternal Network\" were transgressive projects such as British mail artist Pauline Smith's \"Adolf Hitler Fan Club,\" which was perceived as quixotic in its time and by fellow artists, but whose motives seem dubious when one reads Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, \"Corpse Club\", in: Banana, Anna. _About VILE_. Vancouver: Banana Productions, 1983, p. 59-60.] \n\n\nIn retrospect, spamming, trolling, and political subcultures such as the \"Alternative Right\" (\"Alt-Right\") were prefigured in \"The Eternal Network.\" In his 2001 book _Networked Art_, Craig A. Saper characterized Mail Art practice as \"intimate bureaucracies\" in which artists effectively turned themselves into administrative network operators (or, in today's terminology: sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001.] Network administration means to cope with accidents, and catastrophes, in real-time, especially when - like in Mail Art, or in internet social media - the network is simultaneously the information carrier and, at least to some degree, the information itself. Pauline Smith's apartment was raided by the police in 1976, in the same year when her London collaborator and fellow mail artist Genesis P-Orridge was put on trial for using pornographic images on postcards. In both cases, it is difficult to state whether the \"Eternal Network's\" pre-digital social networking had _created_ accidents or _was_ the accident itself. \n\nIn his 2001 book _Networked Art_, Craig A. Saper characterizes Mail Art practice as \"intimate bureaucracies\" through which artists effectively became administrative network operators (or, in today's terminology, sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001] Network administration is about managing accidents and disasters in real time, especially when, as with mail art or social media on the Internet, the network is both the information carrier and, at least to some degree, the information itself. Pauline Smith's apartment was raided by police in 1976, the same year that her London colleague and fellow mail artist Genesis P-Orridge was on trial for having put pornographic images on postcards. In both cases, it is difficult to say whether the pre-digital social networks of the \"Eternal Network\" _caused_ accidents or _were_ the accident itself. \n\nThis question became even more difficult to answer when network bureaucracies became algorithmic regimes, and when the Eternal Network operators who worked in the manner of Mieko Shiomi and others - designing and dispatching prompts, assembling the feedback - were replaced by bots. In March 2016, Microsoft's research division launched _Tay_, an AI chat bot on Twitter. As opposed to most other commercial machine learning-based software today, this bot had not completed its training before it was launched, but used all chat interactions as its continued machine learning input. The launch historically coincidended with Donald Trump's first successful presidential campaign and its militant support through the extreme-right \"Alt Right\" in Internet meme and troll forums. After word about Tay had spread on the main \"Alt Right\" forum at that time (the \"/pol\" or \"politically incorrect\" board on the website 4chan), user interactions retrained Tay into an aggressively racist, fascist and Holocaust-denying chat bot within only few hours. 16 hours after its launch, Microsoft took Tay offline. \n\nTay does not seem to fit a linear cause-and-effect logic according to which technologies either create their own accidents and catastrophes (such as the invention of the car having resulted in ca. 1.3 million deaths per year in car accidents and another estimated 385,000 premature deaths through air pollution^[Anenberg, Susan, et al. \"A global snapshot of the air pollution-related health impacts of transportation sector emissions in 2010 and 2015.\" _International Council on Clean Transportation_, Washington, DC, USA (2019).]), or accidents and catastrophes conversely foster new technologies, such as modern information and computer technology born out of the British and American defense against Nazi Germany, or the high-tech innovations of Dutch \"Delta Works\" water management after the country's flood catastrophe in 1953. As radically open feedback systems that digest their own networks, in largely unprotected modes, both Tay and Mail Art could be called simultaneous causes and effects of accidents. Their constructions are recipes for disaster, to the point where it becomes impossible to differentiate what is the technology and is the accident in them. In the case of Mail Art - but not of Microsoft -, this recipe and its possible consequences were even intentionally chosen by the artists, as a radical experiment, ultimately going back to Fluxus, and - beyond that - to John Cage's indeterministic composition, only that it no longer operated in safe space, but in an open environment. \n\nOther open works (to use (Eco)'s term) including Shiomi's Spatial Poem or Tristan Tzara's 1920 instruction to create a Dadaist poem by cutting out and randomly combining the words of an arbitrary newspaper article, could be escalated in similar ways to yield similar catastrophic real-life dynamics. A number of Fluxus pieces called \"Danger Music\" - such as Takehisa Kosugi's 1964 instruction to \"[s]coop out one of your eyes 5 years from now and do the same with the other eye 5 years later\" - suggested this route. The example of Tay and 4chan suggests that contemporary Danger Music no longer plays in the arts, but in digital technology, with 4chan itself being perhaps the best example of a catastrophic cybernetic heir of Dada, of technology as catastrophe, and catastrophe as technology.\n\n\n*### lens 5: aestheticized technology\n\nEven the miler example of TikTok illustrates how, since the Internet boom of the 1990s, technology has become aesthetic to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) may make a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often - if not in most cases - accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau - note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute - which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work - which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of - call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|6+uk*19+3z*19*i+3*1g*i+1*19*i+5*19+4g*1g+1*19+14*1g+1*19+ad*19*i+3*1g*i+1*19*i+5*19|2+5p*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3cm*19*1b*1*3+1*19|5+ph*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|8+1oi*19+i7*19*i+h*19+y*19*i+7*19|4+8a*19*1b*1*3+1*19|8+1e8*19+q1*19*i+9*19+g*19*i+a*19+i*19*i+9*19+1*19*i+1*19+15*19*i+m*19+2c*19*i+o*19|5+1fy*19+6h*19*1h+o*19+41*19*i+e*19|6+21t*19+cm*19*i+1v*19|5+1dm*19*1b*1*3+1*19|7+x6*19*1a*1*3+1*19|4+vq*19+42*1g+1*19+mr*1g+1*19|2+cn*19+41*1g+1*19+b5*19*i+6*19|2+4n*19+5n*19*i+7*19+2*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*1*5*3+1*19|1+1*19*1*2*3+1*19|2+7m*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|5+1p6*n+4n*n*i+k*n|1+7v*n+8l*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|1+y*19|2+2*0|1+1+4*0|1+1+qb*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+62*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:18001":{"changeset":"Z:x51<1|2k=dzd=1q-1$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672111116915}},"pad:accidental-tech:revs:18002":{"changeset":"Z:x50>1|2k=dzd=1q*19+1$ ","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672111118217}},"pad:accidental-tech:revs:18003":{"changeset":"Z:x51<1|2i=d5c=76-2*19+1$t","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672111128235}},"pad:accidental-tech:revs:18004":{"changeset":"Z:x50>2|2i=d5c=77*19+2$hr","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672111128733}},"pad:accidental-tech:revs:18005":{"changeset":"Z:x52>4|2i=d5c=79*19+4$ough","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672111129235}},"pad:accidental-tech:revs:18006":{"changeset":"Z:x563|2i=d5c=85*19+3$eca","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672111139619}},"pad:accidental-tech:revs:18008":{"changeset":"Z:x4t>2|2i=d5c=88*19+2$me","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672111140016}},"pad:accidental-tech:revs:18009":{"changeset":"Z:x4v<5|2i=d5c=8a-5$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672111140918}},"pad:accidental-tech:revs:18010":{"changeset":"Z:x4q<87|2k=dz2-87$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672111155740}},"pad:accidental-tech:revs:18011":{"changeset":"Z:wwj<1|2k=dz2=2w-1$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672111174981}},"pad:accidental-tech:revs:18012":{"changeset":"Z:wwi>2|2k=dz2=2w*19+2$M<","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672111175484}},"pad:accidental-tech:revs:18013":{"changeset":"Z:wwk<1|2k=dz2=2x-1$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672111175983}},"pad:accidental-tech:revs:18014":{"changeset":"Z:wwj>0|2k=dz2=31-1*19+1$A","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672111177486}},"pad:accidental-tech:revs:18015":{"changeset":"Z:wwj1|2j=dya=uh*19|1+1$\n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672111561648}},"pad:accidental-tech:revs:18020":{"changeset":"Z:wf6>1|2k=ess*19|1+1$\n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672111562148}},"pad:accidental-tech:revs:18021":{"changeset":"Z:wf7>sv|2l=est*19+sv$This question became even harder to answer when network bureaucracies became algorithmic regimes and when Eternal Network operators working like Mieko Shiomi and others - designing and dispatching prompts, aggregating feedback - were replaced by bots. In March 2016, Microsoft's research department introduced _Tay_, an AI chatbot on Twitter. Unlike most other commercial software based on machine learning, this bot had not completed its training before it went to market, but used all chat interactions as continuous input to its machine learning. The launch coincided with Donald Trump's first successful presidential campaign and the militant support he received from the extreme right in meme and troll forums on the Internet. After word got out about Tay on the main \"Alt Right\" forum at the time (the \"/pol\" or \"politically incorrect\" board on the website 4chan), user interactions retrained the chatbot to be aggressively racist, fascist and Holocaust-denying within hours. 16 hours after its premiere, Microsoft took Tay offline. ","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672111562649}},"pad:accidental-tech:revs:18022":{"changeset":"Z:x82<7v|2j=dya-7v$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672111582690}},"pad:accidental-tech:revs:18023":{"changeset":"Z:x07<9|2l=eky=81-9$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672111595626}},"pad:accidental-tech:revs:18024":{"changeset":"Z:wzy>4|2l=eky=81*19+4$ivis","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672111596125}},"pad:accidental-tech:revs:18025":{"changeset":"Z:x02>3|2l=eky=85*19+3$ion","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672111596624}},"pad:accidental-tech:revs:18026":{"changeset":"Z:x05y|2l=er5=p-154*19+162$into a linear cause-and-effect logic according to which technologies either cause their own accidents and disasters (such as the invention of the automobile, which led to about 1.3 million deaths per year in car accidents and another estimated 385,000 premature deaths from air pollution^[Anenberg, Susan, et al. \"A global snapshot of the air pollution-related health impacts of transportation sector emissions in 2010 and 2015.\" _International Council on Clean Transportation_, Washington, DC, USA (2019).]), or conversely, that accidents and disasters would give birth to new technologies, such as the modern information and computer technology that emerged from British and American self-defense against Nazi Germany, or the high-tech innovations of Dutch \"Delta Works\" water management after the country's 1953 floods. As radically open feedback systems that process their own networks in largely unprotected ways, both Tay and Mail Art could be said to be simultaneously causes and effects of accidents. Their constructions are recipes for disaster, to the point where it becomes impossible to distinguish what exactly is technology and what is accident in them. In the case of Mail Art - but not of Microsoft - this recipe and its possible consequences were even consciously chosen by the artists, as a radical experiment that ultimately goes back to Fluxus and - beyond that - to the indeterministic composition of John Cage, only that it no longer operated in safe aesthetic spaces but in open environments","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672112039053}},"pad:accidental-tech:revs:18029":{"changeset":"Z:wef<3|2l=er5=15h-4*19+1$l","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672112044959}},"pad:accidental-tech:revs:18030":{"changeset":"Z:wec>4|2l=er5=15i*19+4$imit","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672112045457}},"pad:accidental-tech:revs:18031":{"changeset":"Z:weg>2|2l=er5=15m*19+2$ed","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672112045957}},"pad:accidental-tech:revs:18032":{"changeset":"Z:wei<6|2l=er5=15h-7*19+1$c","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672112055779}},"pad:accidental-tech:revs:18033":{"changeset":"Z:wec>4|2l=er5=15i*19+4$onst","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672112056277}},"pad:accidental-tech:revs:18034":{"changeset":"Z:weg>5|2l=er5=15m*19+5$raine","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672112056682}},"pad:accidental-tech:revs:18035":{"changeset":"Z:wel>1|2l=er5=15r*19+1$d","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672112057280}},"pad:accidental-tech:revs:18036":{"changeset":"Z:wem>1|2n=fy8=m2*19|1+1$\n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672112340348}},"pad:accidental-tech:revs:18037":{"changeset":"Z:wen>1|2o=gkb*19|1+1$\n","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672112340851}},"pad:accidental-tech:revs:18038":{"changeset":"Z:weo>l8|2p=gkc*19+l8$Other open works (to use a term by (Eco)), such as Shiomi's Spatial Poem or Tristan Tzara's 1920 instruction to create a Dadaist poem by cutting out and randomly combining the words of any newspaper article, could be similarly escalated to create similarly catastrophic dynamics in real life. A series of Fluxus pieces titled \"Danger Music\" - like Takehisa Kosugi's 1964 instruction to \"gouge out one eye in five years and do the same to the other eye five years later\" - embarked on this path. The example of Tay and 4chan suggests that contemporary Danger Music now plays more in digital technology than in the arts, with 4chan itself perhaps the best example of a catastrophic cybernetic heir to Dada, of technology as catastrophe and catastrophe as technology.","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672112341350}},"pad:accidental-tech:revs:18039":{"changeset":"Z:wzw>a|2p=gkc=ap-2d*19+2n$\"[s]coop out one of your eyes 5 years from now and do the same with the other eye 5 years later","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672112380221}},"pad:accidental-tech:revs:18040":{"changeset":"Z:x06>1|2p=gkc=ap*19+1$ ","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672112382124}},"pad:accidental-tech:revs:18041":{"changeset":"Z:x07>1|2p=gkc=dd*19+1$ 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đŸ”· notes ACCIDENTAL TECHNOLOGY notes 🔘 🔳\n*\n\n\n\n[proposed working title:]\n*Accidental technologies and/in art practice \n*[or:] arts and accidental technology\n\n*## astigmatic prologue\n\n\nSeveral opposing lenses exist through which to view accidental technologies in the arts:\n\n*### lens 1: aestheticization\n\nEver since the Western Enlightenment episteme divided the Latin \"ars\"—and its Greek predecessor \"technē\"—into the separate domains of \"art,\" \"science,\" \"technology,\" \"craft,\" and \"skill,\" investigations of art as accidental technical invention have been doomed to be either romantic or moot. \n\nWhile \"art\" in its contemporary meaning provided a refuge for non-empirical, speculative, and even irrational practices and knowledge, it also quarantined them into the domain of the aesthetic. Accidental, random, absurdist, pataphysical and haunted technologies were effectively sanitized in this way. Athanasius Kircher's speculative contraptions, for example, were still part of mainstream science and technology in the 17th century.^[When (Hocke) and others call these devices and sciences \"mannerist,\" they are employing a modernist perspective and framing. In their time, Kircher's books were considered part of humanistic science and scholarship]. Some of them, such as the kaleidoscope and the spy eye, even became common devices in the centuries that followed. \n\nMost of the objects, devices, and technologies (including social technologies such as psychogeography, durational performance, deep listening, nongkrong) that were created more or less accidentally by artists in the 20th and 21st centuries, existed outside of established science and technology.^[Psychogeography—roaming in cities and other environments—was central to the anti-functionalist 'unitary urbanism' of the Situationist International from the 1950s to the 1970s; durational performance became a common practice in the body and performance art of the early 1970s (among others, by Ulay and Marina Abramovic), Deep Listening was first developed by composer and musician Pauline Oliveros as a mindful way of listening, Nongkrong (Indonesian) roughly translates as chit-chatting and aimlessly hanging out in a group of people and was a working principle of Indonesian artist collectives and of documenta fifteen, Kassel, in 2022]). \n\n*### lens 2: design prototyping\n\nFrom 1965 to 1975, Japanese Fluxus artist Mieko Shiomi created a series of nine \"Spatial Poems\" that consisted of prompts for simple actions like the following:\n\n*> SPATIAL POEM no. 3 will be the record of your intentional effort to make something fall, occurring as it would, simultaneously with all the countless and incessant falling events. \n*\n*> Please write to me how and when you performed it, as we are going to edit them chronologically\n\nThese instructions were sent to Shiomi's network of friends and fellow artists. Shiomi compiled their responses—that is, the executed prompt—and assembled them into poem objects.\n\nWith this work, Shiomi is often credited with having co-initiated Mail Art. In the 1970s and 1980s, Mail Art developed into a global communication ecosystem that called itself \"The Eternal Network\" according to a coinage by Fluxus artist Robert Filliou. The extent to which it anticipated the internet and its social networks in the medium of postal mail can be seen in a 1983 diagram by the Italian mail artist Vittore Baroni, which is effectively a schematic of a distributed peer-to-peer network architecture:\n https://i.pinimg.com/564x/10/e1/27/10e127f3850d4e8b3f70451871fb191d.jpg\n\nFor comparison, this is an often-used diagram visualizing today's digital network architectures:^[This diagram exists in so many variants that it was impossible to trace its historical origin.]\nhttps://www.researchgate.net/profile/Jason-Hoelscher/publication/260480880/figure/fig1/AS:297257619476480@1447883147178/Centralized-decentralized-and-distributed-network-models-by-Paul-Baran-1964-part-of-a.png\n\n\nFrom today's perspective, Shiomi's \"Spatial Poems\" also constituted a small data operation: networked data mining, mapping, and data visualization. \n\nMoreover, there is a striking similarity between Shiomi's prompts and minimalism with a social medium that was wildly popular at the time this essay was written (to the point of being considered the defining audiovisual and social medium of today's young generation): the Chinese website æŠ–éŸł/TikTok, which consists of very short (usually 10-15 second) videos, most of which were recorded by TikTok users themselves with their mobile phones. TikTok became known for viral \"challenges\" in which certain dance moves or (sometimes dangerous) stunts had to be performed in front of the camera. In retrospect, one could call Shiomi's Spatial Poems a perfect pre-Internet TikTok prototype. \n\nOther such lines of connection from experimental arts to mainstream technology could be drawn, of which Fluxus alone provides many examples, such as the prototype of the 1980s and 1990s MTV music video in Nam June Paik's video art (especially in his 1973 piece \"Global Groove\") and the prototyping of co-working spaces in George Maciunas' Fluxhouse cooperatives (1967)—which also initiated the transformation of New York's SoHo neighborhood and thus made an originally communist 'kolkhoz' project the blueprint of \"creative class\" gentrification.\n\nOther examples of technologies prototyped in art include tile mosaics as precursors to pixel graphics (including the Bayer filter technology used for digital photography and videography); the invention of wireless frequency hopping, modeled on player pianos, by actress Hedy Lamarr and composer George Antheil in 1941 in support of the U.S. Army in World War II; the proposal of electronic libraries in El Lissitzky's 1926 manifesto *Our Book*; the anticipation of AI text prompt image generators in Dadaist collage, photomontage and in Cornelia Sollfrank's 1999 *net. art generators*, a work that involved complex considerations of authorship and the copyright implications of algorithms; the origins of (vacation rental platform) Airbnb as a social design project developed by design students; the preemption of Instagram self-fashioning in Cindy Sherman's staged photographic self-portraits of the 1980s; and of internet memes in the visual works of John Heartfield and Barbara Kruger.\n\nIn this lens, the (relative) autonomy of art, or its (limited) license to speculate and experiment, allows it to develop the most speculative prototypes of what may one day become mainstream technology. This capitalist-realist scenario would also provide an answer to the relationship between accident and technology: that these accidents are actually supposed happen in the arts, rather than in any other domain including technological design and engineering, since the arts—wherever they lost their traditional functions of mimesis and representation—operate as a socially, politically and economically sanctioned niche and playground for speculative work and thinking.\n\n\n*### lens 3: accidental scientific and technological invention\n\nThis (ultimately romantic) understanding of the arts seems, however, to be contradicted by two facts: planned technological invention in the arts, and accidental technological discovers in science and engineering. \n\nWhile artistic research practices such as pataphysics, psychogeography, and nongkrong elevate accidental to a program, there are also counterexamples of art modeled on military and industrial invention, such as Italian Futurism, the case of Lamarr and Antheil, highly institutionalized forms of research laboratory art, as well as the very notion of \"avant-garde.\" These examples simultaneously illustrate the fuzziness of such apparent oppositions. Italian futurism, though modeled on the military, was highly speculative and experimental, with today's non-European futurisms-Afrofuturism and Sinofuturism-taking speculation even further. \n*\nConversely, the invention of many technologies through scientists and engineers did not follow a program or plan, but was accidental:\n\n** X-rays were discovered accidentally by Wilhelm Röntgen when he was testing whether cathode rays could penetrate glass;\n** Pennicillin was discovered by Alexander Fleming, who found that a mold had accidentally killed bacterial cultures in his hospital laboratory; \n** vulcanized rubber was discovered by Charles Goodyear, who accidentally dropped rubber mixed with sulfur onto a hot stove\n** microwaves as a heating technique were discovered by the engineer Percy Spencer, who found that a magnetron had caused his snack to melt;\n** the pacemaker was invented by engineer Wilson Greatbatch, who really just wanted to record the rhythm of the heartbeat;\n** Sildenafil/Viagra was originally developed by Pfizer to treat cardiovascular disease until test patients found it worked as a potency drug; \n** The safety pin was accidentally invented by Walter Hunt while he was playing around with wire;\n** The Arpanet/Internet was originally developed to more efficiently share the computational resources of time-sharing computers in research institutes, but shortly after its introduction, e-mail became its most popular function.\n\nIn the above examples of accidental discovery in engineering and science, technological invention had always been the goal. It only resulted in purposes and products different from those originally intended. In the arts, on the other hand, one might assume that poetic inventions that happened to become technological visions—from Lissitzky's *Electron Library* to Shiomi's *Spatial Poem* and Sollfrank's *net.art generator*—were originally intended \"only\" as art projects and accidentally became prototypes of technologies. But this assumption only works if one narrows the scope of art and ignores that (especially in the examples from Dada, Fluxus, and cyberfeminist net.art) these art practices also saw themselves as real experiments with alternative life practices. Today, this ambition has not diminished, but has actually intensified in the arts when one thinks of contemporary multidisciplinary artist collectives in different world regions—such as those that participated in documenta fifteen in 2022—whose art practice is practical community work and experimentation with more sustainable modes of living.\n\nIf art thus becomes a human self-experimentation—and if this \"self\" is increasingly collectivized and extended to entire communities—how does it differ from martial inventions and biopolitical experiments, except in its political-economic power?\n\nAll these examples show how difficult or even arbitrary the distinction between artistic practice and techno-social practice is, which brings us to an elephant in the room: the definition of technology. While the Oxford English Dictionary conventionally defines it as a \"branch of knowledge concerned with the mechanical arts and applied sciences,\" cybernetics, general systems theory, media theory, and philosophers such as Gilbert Simondon have complicated its definition by taking it out of the nature/culture dichotomy and into more complex techno-social dynamics. \n\nWhen technology is conversely engineered as social design (as in most Internet platforms and long before that in architecture), it becomes difficult to draw the line between technology and other forms of _poeisis_: For example, is experimental community building a technology? Such as: squats, communes and experimental living communities in social and political activism, experimental platform and community building in hacker culture, residencies and collectives in contemporary art, and their various overlaps and intersections in utopian-dystopian projects such as Monte VeritĂ  in the early 20th century, the Otto Muehl commune in the 1970s, and the \"lumbung ecosistem\" of documenta fifteen in 2022,^[\"Lumbung\" is the Indonesian equivalent of \"commons\".] as well as in occult, spiritualist and magical practices that often describe their ways of working as technology (among others: shamanism, meditation, communication with ghosts, practical kabbalah, and modern gnostic movements such as Scientology).\n\n\n\n*### lens 4: accidents and open systems\n\nIt would be oversimplifying to generally and sweepingly attribute accidental technologies to art. The opposite is also true. Science fiction literature, for example, has historically served as a direct inspiration of research and development, especially in the fields of digital technology and artificial intelligence. (Computer hackers and engineers are known to be among the most ardent readers and viewers of science fiction literature, movies, and television). Science fiction has often functioned as a master plan for a technology, as an elaborate, systematically crafted blueprint. \n\nThere is also non-accidental, hands-on technology development in the arts themselves: in research-oriented electronic and computer music, where composition includes the development of matching hardware and software instruments, and in the development of community media tools, as in the video and democratic television activism of the 1970s artists' collective Raindance Corporation, and today in the development of Open Source community tools in artists' collectives such as Lifepatch, varia, and Hackers & Designers. \n\nBut what if one does not look optimistically at accidents in the technological _poiesis_ of artists, but at accidents in the sense of prosaic or even catastrophic failure? The Otto Muehl commune, which began as a socio-artistic experiment and ended with criminal convictions for systematic sexual abuse, is perhaps the most striking example of such a catastrophe in recent art practice. But it remains debatable whether that catastrophe was really due to the commune's social technology (which included a computer program that generated a randomly generated daily \"fuck list\" for communards to prevent them from forging traditional family relationships). \n\nMail art, which had emerged from the same 1960s countercultural-performative art scene as the Muehl commune, experienced numerous structural problems at the level of its network infrastructure and protocols. Its prototyping of Internet social media happened partly by accident, since its original goal was not an alternative mass communication system, but a self-organized, non-hierarchical, inclusive alternative to the curatorial art system of museums and galleries. When it became \"The Eternal Network\" and gradually dissociated itself from art, it not only prototyped Internet social media, but also their operational issues.^[In some cases, Mail Art communities were direct precursors to online social media, for example in electronic dial-up computer systems (\"BBSs\") that existed in the 1980s to 1990s and via Mail Art discussion boards on proto-Internet dial-up social media such as the U.S. American computer discussion boards _EchoNYC_ (New York) and _The Well_ (San Francisco). _The Well_, created in the 1980s by Stewart Brand's _Whole Earth Catalogue_ publishing company, was historicized in Howard Rheingold's 1993 best-selling book _The Virtual Community_. This book likely inspired the designs of later, larger-scale social networks such as AOL and Facebook.] Spam became a problem in Mail Art as early as in the 1970s. Many of its participants later testified that they had given up because of vast amounts of \"junk mail,\" most of which came from people who used Mail Art as a low-threshold system to become part of publications and exhibitions. The \"Eternal Network\" was effectively employed as a vehicle for self-promotion, most blatantly by the Italian businessman Guglielmo Achille Cavellini, who used Mail Art to disseminate his individual brand in the form of ubiquitous stickers promoting his artist career. \n \nSince Mail Artists had made a commitment not to ever reject any submissions, there was no structural solution to this problem. In addition, their open participation and free speech ethos sometimes led to questionable submissions being accepted and disseminated, such as a series of anti-Semitic caricatures in a 1975 issue of the San Francisco mail art zine _VILE_ that bear a striking visual resemblance to today's anti-Semitic Internet meme of the \"Happy Merchant.\" Also part of the \"Eternal Network\" were transgressive projects such as British mail artist Pauline Smith's \"Adolf Hitler Fan Club,\" which was perceived as quixotic in its time and by fellow artists, but whose motives seem dubious when one reads Smith's comments on Hitler.^[\"I was struck by the way Hitler’s description of decadent Austrian democracy prior to WW1 could equally well suit the last few British governments. In 1971 ruthless destruction of the community in which I lived was being carried out by commercially minded people whilst those who had the power to stop this happening stood by like reeds in the wind,\" Pauline Smith, \"Corpse Club\", in: Banana, Anna. _About VILE_. Vancouver: Banana Productions, 1983, p. 59-60.] \n\nIn retrospect, spamming, trolling, and political subcultures such as the \"Alternative Right\" (\"Alt-Right\") were prefigured in \"The Eternal Network.\" In his 2001 book _Networked Art_, Craig A. Saper characterized Mail Art practice as \"intimate bureaucracies\" through which artists effectively became administrative network operators (or, in today's terminology: sysadmins).^[Saper, Craig J. _Networked Art_. University of Minnesota Press, 2001.] Network administration is about managing accidents and disasters in real time, especially when, as with Mail Art or social media on the Internet, the network is both the information carrier and, at least to some degree, the information itself. Pauline Smith's apartment was raided by police in 1976, the same year that her London colleague and fellow mail artist Genesis P-Orridge was on trial for having put pornographic images on postcards. In both cases, it is difficult to say whether the pre-digital social networks of the \"Eternal Network\" _caused_ accidents or _were_ the accident itself. \n\nThis question became even harder to answer when network bureaucracies became algorithmic regimes and when Eternal Network operators working like Mieko Shiomi and others—designing and dispatching prompts, aggregating feedback—were replaced by bots. In March 2016, Microsoft's research division introduced _Tay_, an AI chatbot on Twitter. Unlike most other commercial software based on machine learning, this bot had not completed its training before it went to market, but used all chat interactions as continuous input to its machine learning. The launch coincided with Donald Trump's first successful presidential campaign and the militant support he received from the extreme right in meme and troll forums on the Internet. After word got out about Tay on the main \"Alt Right\" forum at the time (the \"/pol\" or \"politically incorrect\" board on the website 4chan), user interactions retrained the chatbot to be aggressively racist, fascist and Holocaust-denying within hours. 16 hours after its premiere, Microsoft took Tay offline. \n\nTay does not seem to fit into a linear cause-and-effect logic according to which technologies either cause their own accidents and disasters (such as the invention of the automobile, which led to about 1.3 million deaths per year in car accidents and another estimated 385,000 premature deaths from air pollution^[Anenberg, Susan, et al. \"A global snapshot of the air pollution-related health impacts of transportation sector emissions in 2010 and 2015.\" _International Council on Clean Transportation_, Washington, DC, USA (2019).]), or conversely, that accidents and disasters would give birth to new technologies, such as the modern information and computer technology that emerged from British and American self-defense against Nazi Germany, or the high-tech innovations of Dutch \"Delta Works\" water management after the country's 1953 floods. As radically open feedback systems that process their own networks in largely unprotected ways, both Tay and Mail Art could be said to be simultaneously causes and effects of accidents. Their constructions are recipes for disaster, to the point where it becomes impossible to distinguish what exactly is technology and what is accident in them. In the case of Mail Art—but not of Microsoft—this recipe and its possible consequences were even consciously chosen by the artists, as a radical experiment that ultimately goes back to Fluxus and—beyond that—to the indeterministic composition of John Cage, only that it no longer operated in constrained aesthetic spaces but in open environments. \n\nOther open works (to use a term by (Eco)), such as Shiomi's Spatial Poem or Tristan Tzara's 1920 instruction to create a Dadaist poem by cutting out and randomly combining the words of any newspaper article, could be similarly escalated to create similarly catastrophic dynamics in real life. A series of Fluxus pieces titled \"Danger Music\"—like Takehisa Kosugi's 1964 instruction to \"[s]coop out one of your eyes 5 years from now and do the same with the other eye 5 years later—embarked on this path. The example of Tay and 4chan suggests that contemporary Danger Music now plays more in digital technology than in the arts, with 4chan itself perhaps the best example of a catastrophic cybernetic heir to Dada, of technology as catastrophe and catastrophe as technology.\n\n\n*### lens 5: aestheticized technology\n\nEven the miler example of TikTok illustrates how, since the Internet boom of the 1990s, technology has become aesthetic to the point where the distinction between art and technology blurs and the pre-modern notion of \"ars\" (or technē) may make a comeback. The programs of Fluxus and Situationism in the 1960s to replace fine art with \"art-amusement\" and \"vaudeville art\" (George Maciunas in the _Fluxmanifesto on Fluxamusement_, 1965) and functionalism with ludism (European Situationists referring to (Huizinga)) not only read as blueprints for \"gamification\" in contemporary creative industries. In some cases they are even literally cited as references. ^[Such as in Gaver, Bill, Tony Dunne, and Elena Pacenti. \"Design: cultural probes.\" _interactions_ 6.1 (1999): 21-29.] \n\nThe Situationist International anticipated this risk in its own concept of \"recupĂ©ration\" (hijacking). But few concepts and practices developed in speculative arts were so thoroughly hijacked as those of the Situationists, especially those of Ludic urbanism. Another question is whether such ideas did not already have their problematic dialectic the moment they were coined.\n\n\n*## DIY, Self-experimentation, raising meta-narratives\n\nIn his essay \"Infrastructures Work on Time\", Timothy Mitchell introduces the challenge to consider delay and postponement as an alternative barometer by which to consider large-scale infrastructure projects, perhaps something akin to environmentalists' call for degrowth. This so-called reversal is what blushes the cringe-worthy tint of romanticism upon anyone and anything that is not on board with continued modernisation, yet the slowed time of which Mitchell speaks actually refers to both the material durability of built infrastructure like railroads and highways, as well as the durational temporality by which \"the present extracts wealth from the future\" via investment, credit, and accumulated interest.^[Timothy Mitchell, \"Infrastructures Work on Time\", *e-flux Architecture*, , accessed 19 December 2022.] As such, the waiting time of accrued revenue is just as much a desired variable of the mandates for growth, conquest, and development as any luddite's call to slow things down. \n\nThe temporality of the accident, however, is not necessarily about slowing down or speeding up; it nestles within the gaps between past and future—rips in a planned timeline of the experiment which alter the trajectory of otherwise hypothesised futures. A French chemist clumsily knocks over a flask and inadvertently invents safety glass. World War I nurses appropriate particular cellulose bandages meant for wounded soldiers, unintentionally launching the disposable menstrual pad industry. Scientists answering to the US government's calls for synthetic rubber in light of shortages during World War II fail with a too malleable silicone polymer, which later goes on to become the classic children's fidget toy Silly Putty. The nature of 'accident' in these examples of great technologies which have revolutionised our world today are each tonally distinct. The ensuing invention may be the result of accident, but the manner by which they each came about varies—from literal mishap, to astute reappropriated use, to a failed experiment which begets a new commercially viable twist. By virtue of these diversions in the timeline, long, profitable futures are had by those who manage to grasp hold of the resources to control the technology and its production, and magically, what was an unforeseen glitch in the present becomes once again part of the mandate for development, efficiency, and predictable space-time. \n\nWhat we are interested in here, however, has perhaps less to do with such historically repeated conquests but the temporality of the unrepeatable—that which cannot be so readily scaled-up. For what sets the precedent of military and state with corporate handshakes is precisely the grip upon resources which turn accidents into products, the disenfranchised into the revitalised, and disuse into innovation. Scientific and technological accidents easily become managed uses of time, space and other resources because they often occur as fissures *within* institutional practice, therefore easily co-opted: Humvee becomes Hummer; chest pain medication becomes Viagra; eye treatment for cross-sightedness becomes Botox. \n\nFor however much the mandate for 'originality' in art can be argued, to speak about accidents in art has more to do with the hope for uniqueness by which the art realm has been historically established (poeisis) [and which also makes up the difference between Shiomi's 'Spatial Poem' and TikTok]. The repeatable is traditionally undesireable, and this indirectly leads to a question about artists' relations to institutions, which mechanise and systematise production for stratified and repeatable forms of output and representation. In the case of both museums and funding organisations, administration monitors and manages the flow of resources from private and state sectors, setting sanctioned barometers for what art is and 'good artists' are in the eyes of the corporation and nation. In this sense, the wielding of resources occurs not so dissimilarly from the mass-industrial complex of which we spoke before, but if we are to try to cull again something with a bit more liberatory potential from art and the accident, it could be useful to hone in on what separates them from other realms. So in a temporal sense, if accidents could be made less productive or less repeatable, what would they be? \n\n*Let us now embark upon a thought dĂ©rive, to consider the difference between accident and coincidence. Coincidence is also a relation of time and space, from the medieval Latin coincidentia meaning 'occupation of the same space', also from co-, 'together with' and incidere, 'fall upon or into'. What overlaps here is the confluence of the spatial and the interpersonal at an intersection with the temporal. This may at first may appear not so dissimilarly from the accident, but the vector form of the accident, from the verb accidere (ad- meaning 'towards, to' and cadere 'to fall') bears a subtle difference with the stop-time of coincidence. Accidents move; they move futures and premeditate an ensuing sequence of events which occur by virtue of the transformatory nature of the accident. The coincidence, on the other hand, merely 'happens'; things, people, and circumstances come together, and there is no connotation of a better or worse future in relation to that which was prior to the coincidence. This approaches something like ç·Ł yuĂĄn, a Chinese concept most often translated as 'fate' or 'destiny'. The western reading of this sounds fixed in the sense of ordained trajectories of time, but we may argue here that yuĂĄn merely gives a logical reason, or acceptance, behind things that 'merely happen'. The character ç·Ł yuĂĄn is composed of the web of relations, çłž sÄ« (meaning 'thread'), with ćœ– tuǎn, from ćœ–èŸž tuĂ ncĂ­ (meaning 'to determine') and representing the first two sections of the \"Ten Wings\" (*ćçżŒ *shĂ­ yĂŹ) commentaries on The Book of Changes (易經 YĂŹjÄ«ng). It is in this space of subjective perspective which allows for the constancy of change despite our inclinations to rebel from the fixity of predetermined futures and the supposed will of fate. Time is captured as a series of coincidences. We fall together in spite of ourselves, and the futures they beget are not to be grasped but simply to be accepted. This is not to deny the efficacy of all our efforts, especially in consideration of greatly needed forms of change in society today, but perhaps there may be here a subtle shift of perception which could offer possibilities of thought and praxis.* \n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident (parallel to ancient Greek distinctions between ars and technē?), then perhaps in an Adornian manner, we should maintain the uselessness of art as its very usefulness in society. This is not to dismiss the need for aesthetic tools to strengthen other realms, but, but we must also do everything in our power not to dismiss the potency of the realms of the unpredictable, the irreplicable, the ineffable. Under the regime of the all-devouring divider of capitalism, coincidence may be a much needed respite from its mandates for control.* \n\n[Alternative proposal by Florian]\n\n*If we consider not the repeatability of the accident within art but the singularity of manifestations of coincidence as a form of non-utile accident, then perhaps the issue is not, as idealist aesthetics from Kant to Adorno has framed it, one of uselessness versus usefulness of art, or of autonomy and 'fait social', but to question and transcend those juxtapositions and categories [as Chuang Tzu does in his fable of the useless tree ...]. This also liberates us from the deadlock conclusion that any form of the aesthetic, the accidental, unpredictable, the irreplicable, the ineffable, ultimately ends up being 'recuperated' (to use Situationist technology), gentrified, respectively as a prototype of some app or capitalist business model, and that coincidence can be salvaged from resignation and cultural pessimism.*\n\n\n*Hence messy, hence spiritual, hence chaos?* \n\n2022 December 易-notes \n\nwhen you grow up with this, \n\nyou don't know what friction is \n\nAn ice cream vendor at a fair runs out of dishes on which to serve his ice cream, and takes the waffles from the neighbouring stall, thereby inventing the waffle cone. \n\n\n*\n*Coincidence, serendipity, ç·Łćˆ† and chance have a more 'spiritual' or 'superstitious' tone to them, perhaps, and does this put them more at the level of individual or direct interactions which cannot so easily be replicated with intention, or by those that control resources?\n\n*Rest of the text [needs cleanup & elaboration]\n\n\n\n\n[-> Florian's work to elaborate/write this section]\n\n\n\nIV. LIGHT LOGISTICS, coincidence and confluence as form, semi-autonomy and post-anarchism as distributed relations to existing platforms, mistakes as sustainability\n\n\n\nV. Conclusions?\n\n- both historically, and based on newer theories/philosophies of technology (Gilbert Simondon): the line between technology discovery and artists' experimentation is blurry if not arbitrary/artificial, and ultimately based on a differentation of practices and domains of knowledge introduced in the late 17th/early 18th century scientific paradigm shift when \"art(es)\" [Latin, synonymous with Greek \"techne\"] got divided up into art vs. science vs. technology\n- This division has often and routinely been deplored in technology-oriented arts (i.e. new media art, art/science etc. [since we're writing this in a book for V2_...), but looking at accidental technologies and art practices, we'd argue that often—if not in most cases—accidental invention of technologies occur in art practices that are NOT declaredly technological, but think of themselves as social and cultural experiments\n- in other words: communal-experimental inventions of everyday technologies / \"practices of everyday life\" (de Certeau—note also the influence of these concepts on artistic/activist movements such as 'tactical media'); which can be 'fully manual'/'offline' technologies, but automated/operationalized any time (see Airbnb, see the New York Correspondance School vs. Facebook/Meta\n- both Jacques Ellul and Marshall McLuhan privilege artists in anticipating socio-technological developments, by calling them \"seismographs\" and \"antennas\"; while our examples seem to support this hypothesis, there's the double-edged sword of a romanticist aesthetic ideology of the artist as visionary\n- the appropriation, mainstreaming & commodification of artists' accidental technologies (such as: Mail Art social networking into Facebook) needs to be mentioned, but leads to a fatalist impasse: artists as the unintentional trendsetters of extractive capitalism, gentrification, new capitalist business models etc.; and issue that has been discussed since the Situationist International in the 1950s/60s (by the group as \"rĂ©cupĂ©ration\", whose English equivalent is \"hijacking\"). In neoliberal times, this seismographic function of art often is its only remaining justification (for obtaining public funding, for example). \n- The real question is whether the artificially separated realm of the arts shouldn't be reintegrated into everyday life and social practices (references: John Dewey, Art as Experience; collective pracitces such as those of Display Distribute; documenta fifteen), which would partly obsolete the question of whether or not it should let itself hijack. [Since the semantics of hijacking still implies that art is an autonomous, separated realm from the rest of society]\n- If the divisions of art, technology, research, society are up for dispute—which we think they should be -, this means that their relations need to be renegotiated, as opposed to one of them (such as \"technology\" in a now-conventional sense) becoming the leading paradigm. (-> Simondon [?] -> Federici [?])\n\n\n\nEXAMPLES //\n\n*artist residency as accidental prototype for Air BnB [comment: it seems like the way culture is being tooled in the last 10 years is mostly for this kind of neoliberal maximisation... is that our only recourse, are there any examples otherwise, how to unsettle this? —> \"We all become the avant garde of neoliberalism\"]\n*list of military inventions —> https://en.wikipedia.org/wiki/List_of_military_inventions\n*NFTs —> i liked this dialogue about it in relation to thoughts about neoliberal appropriation: https://outland.art/rhea-myers-mckenzie-wark/\n*Letterboxing [my newest obsession, and 'geocaching' its propriety american cousin] —> https://www.atlasquest.com/about/history/\n\n\nPropositions/thoughts for 'The Eternal Network' // \n*Would it be possible to consider an eternal network that allows continuous circulation without being 'end-producted' or only about scaling up?\n*Consider, has 'subculture' as what it was understood by mail art/zine culture networks from 60s disappeared today? Or if not, what kinds still exist in current hyper-connected world?\n*The importance of dis-indentification from networks? how does 'accidental' marginalisation buffer/sustain resistance to the majority? —> https://www.upress.umn.edu/book-division/pdf/off-the-network \n*Coincidence as the happy accident\n\n\n\n____\nAnother question: I've been asked to contribute to a forthcoming book by V2_ on 'technological accidents'. I may have mentioned that V2_ is an institution from which I have always kept some distance since moving here in 2006 (because it used to epitomize what I perceived was wrong with 'interactive' 'art-science' art after having ditched its own roots as a 1980s post-punk subcultural artist-run space, since then lost touch with contemporary culture and never actually grasped networking and community work—which is rather ironic for an institution focused on 'unstable media' and electronic arts; it's basically a space that doesn't know itself what it stands for any more). The reason for me to participate nevertheless is that it's co-edited by Sjoerd van Tuijnen, a philosopher at Erasmus University for whom I have a lot of sympathy and whom I see as a partner in crime for future collaboration. This is the official project description:\n\nTechnological Accidents – Accidental Technology\n“Each period of technological development, with its instruments and machines, brings its share of specialized accidents, thus revealing 'en negatif' the scope of scientific thought.” More recently, Benjamin Bratton has reversed Virilio's original, suggesting that accidents also produce technologies. Still in the midst of a global pandemic that has briefly interrupted and then intensified the hold that digital technologies exercise on our common imagination, we want to inquire into the accidents of technology, but also into the forms of power and authority they materialize. [What about the refusals of power as part of the result?] What are the specific accidents of—call them what you wish: artificial intelligence, machine learning, enhanced pattern recognition, etc., systems? What do accidents tell us about the technology that generates them? [thought of example of the AI chatbot Tay that became racist in 16 hours and had to be shut off?] How are these technological failures tied up with the creation and recreation of economic rationalities? Are we accidentally moving towards a new stage of capitalism, or perhaps to something that lies beyond? What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution? How could we salvage and appropriate accidents? How could goods, people and credit move differently when we take accidents to be more than incidental to our existing infrastructures of life support? And do the events that come to mind really qualify as \"accidents\", or are they rather extended forms of functionality, which may be undesired, but not \"dysfunctional\" in the way that the derailment of a train appears dysfunctional?\n\nOf course, I couldn't help thinking of Display Distribute when I read the question: \"What kinds of alternatives to ‘the economy’ may gain traction in the break-downs and errors of current technological “advancements” and logistical webs of transport and distribution?\" (as well as the sentences following this question). Therefore my very tentative question is whether you might be interested in getting involved and co-writing this article?\n\n*invitation letter:\n\nDear Florian Cramer,\n\nV2_Publishing is working on an anthology to be published by the middle of next year on the topic of ‘technological accidents’. V2_ has published several book series and stand-alone volumes, including single-author works and multiple-author anthologies. Some of our better-known titles are The Art of the Accident, Information Is Alive, The Politics of the Impure, Feelings Are Always Local, The Sympathy of Things and Vital Beauty. Contributing authors have included Zygmunt Bauman, Antonio Damasio, Mike Davis, Manuel DeLanda, Katherine Hayles, Lewis Hyde, Tim Ingold, Lynn Margulis, Brian Massumi, Humberto Maturana, Frank Pasquale, Luciana Parisi, Peter Sloterdijk, Wendy Steiner, Isabelle Stengers, Bernard Stiegler, Francisco Varela, Paul Virilio, Mackenzie Wark and many others. \nOur books often bring together the writings of authors from very different fields with contributions by artists around a single theme that we feel is as much a part of the contemporary theoretical debate as it is current in the arts. We strongly believe that an art organization like ours is the ideal platform for messy, hybrid books like these, which contain as much imagery as they do text and feature not only essays but also interviews – books that are often impossible to publish in the context of academia or mainstream theory.\nThis year’s theme is: technological accidents. This topic will be traversed, explored and investigated in a book entitled Technological Accidents and Accidental Technology, to be jointly edited by V2_ publisher Joke (Dutch for Johanna) Brouwer, and theorists Sjoerd van Tuinen and Rogier van Reekum (Erasmus University Rotterdam). The book will also feature art projects by the artist Paolo Cirio and the artist duo Driessens & Verstappen.\nWe hope to have triggered your enthusiasm to participate in our project. We would be truly honored if you would be willing to write an essay, preferably of between 5,000 and 7,500 words. The deadline would be this Summer, and we can offer an honorarium of €750. \nWe work with speed but also precision. It usually takes us about two months to gather, review and (if necessary) edit the essays. The volume is then designed and printed within two months after that. We are therefore planning to publish this book by the end of Summer 2022. V2_ receives subsidies from the Dutch government, enabling us to keep our books’ prices affordable for students. Our books also enjoy a wide readership because of the nature of the topics and the diverse backgrounds of the authors.\nAgain, we hope you will be interested in contributing to our book, and we look forward to hearing from you.\nYours,\nJoke, Rogier, and Sjoerd\n","attribs":"*9*0*1*2*3+1*7*m+19*0|1+1*t*y*1*3+1*t|1+1*13|3+3*t|1+q*t*y*1*3+1*t+17*19|1+2*19*y*1*3+1*19|2+12*19*1a*1*3+1*19+3*19*7+a*19|5+2u*19*1b*1*3+1*19|6+ug*19+3z*19*i+3*1g*i+1*19*i+5*19+4g*1g+1*19+bi*19*i+3*1g*i+1*19*i+5*19|2+5p*19*1b*1*3+1*19|4+5e*19*1*2*3+1*19|1+53*19*1*2*3+1*19|1+1*19*1*2*3+1*19|m+3c1*19*1b*1*3+1*19|5+pk*19*1*e*3+1*19|3+3s*19*1*2*3+1*19|1+3d*19*1*2*3+1*19|1+41*19*1*2*3+1*19|1+3f*19*1*2*3+1*19|1+3w*19*1*2*3+1*19|1+3e*19*1*2*3+1*19|1+40*19*1*2*3+1*19|1+2p*19*1*2*3+1*19|8+1o6*19+i7*19*i+h*19+y*19*i+7*19|4+8a*19*1b*1*3+1*19|8+1e8*19+q1*19*i+9*19+g*19*i+a*19+i*19*i+9*19+1*19*i+1*19+15*19*i+m*19+2c*19*i+o*19|4+1fx*19+6h*19*1h+o*19+3q*19*i+e*19|9+32v*19*1b*1*3+1*19|7+x6*19*1a*1*3+1*19|4+vq*19+42*1g+1*19+mr*1g+1*19|2+cn*19+41*1g+1*19+b5*19*i+6*19|2+4n*19+5n*19*i+7*19+2*19*i+1*19*1f*i+2a*19|2+pd*19+1*19*i+1oc*19|2+4*19*i+j2*19|4+13*19*i+mx*19|e+8l*19*1*5*3+1*19|1+1*19*1*2*3+1*19|2+7m*19*y*1*3+1*19|1+1b*0|2+2*n|4+1j*13|2+2*0|1+4l*n|3+3*0+f*n|1+1*0|1+1*n|1+cs*n+6w*19+3*n+i*19+1*n|1+4e*n+3a*19+1*n|3+x1*n+4n*n*i+k*n|1+7v*n+23*19+1*n+6f*0|4+4*0+b*11|1+1*0|1+1*0*1*f*3*g+1*0+1i*0*j+7*0+2*0*i+5n*0|1+1i*0*1*f*3*h+1*0|1+2h*0*1*f*3*k+1*0|1+3x*0*1*f*3*l+1*0|4+52*0*1*f*3*g+1*0|1+3z*0*1*f*3*h+1*0|1+53*0*1*f*3*k+1*0+i*0*i+3*0|1+4y*0*1*f*3*l+1*0|1+y*19|2+2*0|1+1+4*0|1+1+e5*19+1+c3*0|2+2*7+1b*0|1+1+7c*j+10+7s*0+1m+y*19+1+51*0+2q+mu*0|2+2+c9*0|2+2*19*y*1*3+1+i*0|2+2+k*0|2+2+81*i+n+2*i+k+2*i+q+2*i+1d+5*i+c+9v*0|1+1+eu*0|1+1+m*j+2s*i*j+1d*j+1+7f*0|1+1+7a*0|1+1+6q*12+u+6h*0|1+1+2z*0|1+1+6*0|1+1|1+p"}}},"pad:accidental-tech:revs:18101":{"changeset":"Z:wce>1|1i=5ms=2w*19+1$i","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672113382743}},"pad:accidental-tech:revs:18102":{"changeset":"Z:wcf>2|1i=5ms=2x*19+2$ty","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672113383243}},"pad:accidental-tech:revs:18103":{"changeset":"Z:wch<6|1i=5ms=2e-7*19+1$m","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672113396872}},"pad:accidental-tech:revs:18104":{"changeset":"Z:wcb>3|1i=5ms=2f*19+3$ake","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672113397371}},"pad:accidental-tech:revs:18105":{"changeset":"Z:wce<3|1i=5ms=2y-3$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672113398875}},"pad:accidental-tech:revs:18106":{"changeset":"Z:wcb>4|1i=5ms=2y*19+4$heir","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672113399376}},"pad:accidental-tech:revs:18107":{"changeset":"Z:wcf>1|27=9et=e3*19+1$p","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672113542365}},"pad:accidental-tech:revs:18108":{"changeset":"Z:wcg>1|27=9et=e4*19+1$r","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672113542867}},"pad:accidental-tech:revs:18109":{"changeset":"Z:wch>2|27=9et=e5*19+2$os","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672113543466}},"pad:accidental-tech:revs:18110":{"changeset":"Z:wcj>3|27=9et=e7*19+3$aic","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672113543972}},"pad:accidental-tech:revs:18111":{"changeset":"Z:wcm>1|27=9et=ea*19+1$ ","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672113544470}},"pad:accidental-tech:revs:18112":{"changeset":"Z:wcn4|27=9et=ec*19+4$nspi","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672113553425}},"pad:accidental-tech:revs:18114":{"changeset":"Z:wch>6|27=9et=eg*19+6$ration","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672113553931}},"pad:accidental-tech:revs:18115":{"changeset":"Z:wcn<2|27=9et=e1-2$","meta":{"author":"a.3khkb9iB0qgHltWi","timestamp":1672113555133}},"pad:accidental-tech:chat:0":{"text":"wow i never new you can add images to an etherpad!!!","authorId":"a.D9D5TSKwRiGz96qU","time":1662117167560},"comments:accidental-tech":{"c-brDIW14twuzORXOD":{"author":"a.9xyfdTK9d5vlYgmS","text":"deadlines have been postponed by one month! (fortunately) ","timestamp":1660760028835},"c-WQqkYQpfC02O17ks":{"author":"a.3khkb9iB0qgHltWi","name":"Florian","text":"added text","timestamp":1671989960230},"c-e9eIdpm0yw039ff4":{"author":"a.3khkb9iB0qgHltWi","name":"Florian","text":"link to Light Logistics?","timestamp":1672100990787}}}