Latest

100% Inhuman Made badges project

Book, Defund Culture: A Radical Proposal

Talk, ‘Liquidate AI Art’, Computer Arts Society, London, 15 October, 2025.

Masked Media: What It Means to Be Human in the Age of Artificial Creative Intelligence

(2025) Ecologies of Dissemination issue of PARSE Journal #21 - Summer, edited by Eva Weinmayr and Femke Snelting. (I am one of the contributors to this experimental issue which emphasizes collective, community-based and relational practices of knowledge production over individual authorship.) 

Robot Review of Books

Some recent and not-so-recent publications

A Brief History of Writing: From Human Meaning to Pattern Recognition and Beyond, with Joanna Zylinska

Experimental Publishing Compendium

Combinatorial Books: Gathering Flowers (book series)

How To Be A Pirate: An Interview with Alexandra Elbakyan and Gary Hall by Holger Briel’.

'Experimenting With Copyright Licences' (blogpost for the COPIM project - part of the documentation for the first book of the Combinatorial Books pilot)

Contribution to 'Archipiélago Crítico. ¡Formado está! ¡Naveguémoslo!' (invited talk: in Spanish translation with English subtitles)

How to Practise the Culture-led Re-Commoning of Cities (printable poster), Partisan Social Club, adjusted by Gary Hall

'Writing Against Elitism with A Stubborn Fury' (podcast)

'The Uberfication of the University - with Gary Hall' (podcast)

'"La modernidad fue un "blip" en el sistema": sobre teorías y disrupciones con Gary Hall' ['"Modernity was a "blip" in the system": on theories and disruptions with Gary Hall']' (press interview in Colombia)

'Combinatorial Books - Gathering Flowers', with Janneke Adema and Gabriela Méndez Cota - Part 1; Part 2; Part 3 (blog post)

Open Access

Most of Gary's work is freely available to read and download either here in Media Gifts or in Coventry University's online repositories PURE here, or in Humanities Commons here

Radical Open Access

Radical Open Access Virtual Book Stand

'"Communists of Knowledge"? A case for the implementation of "radical open access" in the humanities and social sciences' (an MA dissertation about the ROAC by Ellie Masterman). 

Tuesday
Jun172025

Barbarian Currents: Half a Century of Brazilian Media Arts: New open access book

Open Humanities Press is pleased to announce the publication of Barbarian Currents: Half a Century of Brazilian Media Arts, edited by Gabriel Menotti and German Alfonso Nunez.

Like all Open Humanities Press books, Barbarian Currents is available open access (= it can be downloaded for free):

https://www.openhumanitiespress.org/books/titles/barbarian-currents/

Book description

Contemporary art and media art do not exist in separate worlds. In 20th century Brazil, technology was a key element of artistic imagination. Oswald de Andrade, the father of Brazilian ‘cannibal’ modernism, envisioned the Americas as a cradle of a new society populated by technicised barbarians. The country’s post-war avant-gardes embraced computers and electronic media as transformative forces, capable of realising the promise of a nation in search of its modern identity. Barbarian Currents explores this history through a sociological lens, examining the many intriguing circumstances that have shaped the new forms of cultural and artistic expression.

This pioneering anthology brings together the voices of artists, critics and curators who played a pivotal role in the emergence of technological arts in post-war Brazil. The documents, most of which have been translated into English for the first time, remind us that ‘alternative’ art histories are simply the flipside of dominant narratives. They encourage us to look beyond the lens of Western exceptionalism and reframe our understanding of cultural histories worldwide.

Endorsements

Barbarian Currents rigorously illuminates the way in which Brazil’s relationship with technological progress, modernism and utopia shaped a distinctive trajectory for its media arts. The book offers readers unprecedented insight into how Brazil’s media art scene evolved both within and against the global art world. This is an essential resource for understanding the special character of technological art in the Global South.

José-Carlos Mariátegui, Founder – Director of Alta Tecnología Andina, Lima

This unique book fills an essential gap in media art studies. Compiling an extensive directory of Brazilian artistic production, it reconstructs, through the perspectives of its leading actors, an important history marked by creative experiments between art and industry post-World War II.

Professor Giselle Beiguelman, University of São Paulo FAU-USP

Editor Bios

Gabriel Menotti is Associate Professor and chair of the Screen Cultures and Curatorial Studies graduate program at Queen’s University, Ontario. He also works as an independent curator in the field of media practices. His most recent books are Practices of Projection: Histories and Technologies (2020, co-edited with Virginia Crisp) and Movie Circuits: Curatorial Approaches to Cinema Technology (2019).

German Alfonso Nunez is a postdoctoral fellow and lecturer in the Department of Multimedia, Media and Communication at the State University of Campinas (Unicamp). His work focuses on the Brazilian artistic field of the post-World War II era. Recently, he worked as a researcher at the Museum of Modern Art of São Paulo, where he organised and edited the commemorative book for the Museum’s 75th anniversary.

Series

The book is published as part of the MEDIA : ART : WRITE : NOW series edited by Joanna Zylinska: http://www.openhumanitiespress.org/books/series/media-art-write-now/

 

Saturday
Jun142025

The Commons vs Creative Commons I: From Ostrom to Postcapitalism - and Back Again

This is an initial draft of a 5,000 word specially commissioned piece on the commons and Creative Commons. It’s for an open-access online glossary on the contemporary condition and near future that's being produced by the Chinese Academy of Art. Other contributors to the glossary include Felix Stalder, Jason Moore and Hannes Bajohr.

Contents:

I: Introduction * Conceptual Overview * Elinor Ostrom and the Tragedy of the Commons * Liberal Commons * Radical Left Commons * From Capitalism to Postcapitalism – and Back Again

II: The Undercommons * Latent Commons * Uncommons * The Unknown Common * Common Misunderstanding No.1: The Commons is Not Inherently Left-wing

III: Creative Commons * CC and AI * Common Misunderstanding No.2: Creative Commons is Not a Commons * The Commons and Creative Commons: Some Distinctions * Alternatives to Creative Commons

iV: Conclusion: Common Misunderstanding No.3: Commoner is Not an Identity * Common Misunderstanding No.4: There is Not One Commons

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Introduction

The concept of “the commons” has one of its historical origins in the idea of shared lands – fields, meadows, pastures, woods – collectively owned, used and managed by a community. In traditional English law, such communal spaces were known as commons. Starting in the late medieval period, many were appropriated for private use and ownership through a process referred to as the “enclosure of the commons.”

A common image of a commons

Over time, the term has expanded to take in a wide range of collectively held and accessible resources. Among them are:

  •       natural commons – animals, forests, fisheries, rivers, air, the earth;
  •       social commons – including some Indigenous knowledge systems and traditions;
  •       urban and political commons – such as those established during protests, assemblies, occupations    of public spaces, squares and so forth;
  •       money commons – also known as tontines in various regions in Africa, a form of “autonomous, self-managed, women-made” banking system (Federici 2016);
  •       digital and networked commons – as associated with peer-to-peer (p2p) production, platform cooperativism and Free/Libre and Open-Source Software (F/LOSS) communities.

For centuries, the concept of the commons has been at the heart of debates over collective ownership and community governance.

Creative Commons licenses in a nutshell | Blog der UB Zürich

Creative Commons (CC), by contrast, is a modern initiative. Founded in North America in 2001, it is a nonprofit organization dedicated to the free provision of alternative copyright licenses. These CC licenses enable creators to share and build upon works while remaining within the confines of the existing copyright laws. Though Creative Commons is often regarded as an example of the commons in the digital age, it is important to understand that there are fundamental differences between the commons and Creative Commons.

Conceptual Overview

Traditionally, “the commons” refers to land and resources that are controlled neither by private ownership nor the state; instead they are owned and shared by a community of commoners. Importantly, the idea of the commons can also encompass the social and economic processes and institutions through which commoners create, steward and maintain both the shared assets and their community. Access and use are here governed collectively and equitably by a specific group of users according to mutually agreed-upon rules. Each member of the community therefore has a stake in, and rights over, the commons.

Elinor Ostrom and the Tragedy of the Commons

The work of Elinor Ostrom, who received the Nobel Prize in Economic Sciences in 2009 for her research on the commons, demonstrates that local communities can successfully co-manage and conserve shared ecological and environmental resources without the need of privatisation or centralised state intervention (Ostrom 2015). Ostrom’s studies counter the tragedy of the commons, a concept popularized (though not originally coined) by Garrett Hardin, along with the term “commons” itself, in his article of the same name (Hardin 1968). Hardin maintains that individuals acting in their own short-term self-interest will inevitably deplete common resources: through overgrazing or overfishing, for example. Despite frequently being used to justify the privatisation of the commons and removal of those who common, this argument assumes an absence of management or rules. In reality, commons are typically governed by social contracts and agreements that regulate use for both individual and collective benefit and prevent abuse, exploitation and neglect. Indeed, it is precisely this system of participatory self-governance that distinguishes commons from land and resources to which there is simply open and free access (a city street in which people are able to socialize and children play, for example). Any tragedy is the result not of the commons, then, but of people operating as individuals in their own interests to maximise their private property.

Liberal Commons

Philosophers, anthropologists, economists and political theorists have long debated the commons, particularly in relation to capitalism. Liberal perspectives today tend to view the commons as a supplement to capitalism rather than a direct alternative. They focus on preserving and expanding access to common pooled resources while protecting them from excessive commodification and control by either market or state. The influence of this liberal approach is evident in the use of Creative Commons licences by those open-access publishing organisations that look to build a global knowledge commons within existing economic structures through the sharing of the academic research literature – as opposed to fundamentally transforming those structures.

Radical Left Commons

More radical left interpretations see the commons as offering a practical political alternative to capitalism. Instead of being controlled by the market, including market socialism, or even the central state planning of the Keynesian left, resources and spaces are here created and governed collectively by a community of users who self-manage them in a horizontal and participatory – rather hierarchical, authoritarian, top-down – manner. Advocates contend that commoning – the social processes through which both the commons and the community of commoners are built and sustained – acts as a form of resistance to capitalist accumulation, extraction and exploitative wage labour, including reproductive and domestic labour. In this view, commoning is based on shared political principles and practices of co-ownership and co-belonging, such as freedom, equality and social justice. At the same time, commoning offers a foundation for actively crafting radically different non-capitalist ways of working and living together, politically, economically, culturally and environmentally: by revolutionising the home and neighbourhood through collective housekeeping, for instance, or separating the common wealth produced by communities from the military-prison industrial complex. For some, these alternative forms of sociality and cooperation even have the potential to be communist, in that they are often characterised by the elimination of private property, non-capitalist modes of production, consumption, distribution, valuation and exchange, and cultivation of new forms of (common) subjectivity.

From Capitalism to Postcapitalism – and Back Again

Others go further still. They position the commons not only as central to anti-capitalist and anti-colonialist movements seeking to disrupt dominant power structures, and as a strategy for reclaiming public resources following their historical and global enclosure (Bollier 2002; Harvey 2012; Linebaugh 2014). They also envision a commons reimaged for the 21st century as a political event, a starting point for transitioning out of capitalism to more just and equitable postcapitalist societies (De Angelis 2017).

Environmental and Food Justice: Enacting post-capitalism | Series | 1

These emergent political forms are rooted in diverse philosophies and imaginaries. They include:

  •       decentralized, cooperative, peer-to peer networks (Bauwens, Kostakis and Pazaitis 2019);
  •       economies of post-development and post-extractivism, degrowth and post-work (Gorz 1980; 1999);
  •       systems of solidarity, mutual aid and collective care: of the young, old and ill, and extending to care for the natural world (Federici 2018).

Debate persists, nevertheless. Do the commons – like communism for Marx – have to emerge out of capitalism and its contradictions? Antonio Negri argues that capitalism actually “creates the common:” that Marx doesn’t have a pre-capitalist conception of the common (Negri 2003). Here, the common and capitalism aren’t opposed, the one operating as a parallel alternative to the other. The common is impossible without capitalism. (As well as “the commons” Autonomist Marxists such as Negri often refer to “the common,” by which they mean those social relations that are a feature of post-Fordist capitalism’s dominant mode of production. In this context, the common is understood as a foundational condition for the emergence of the commons. As Negri puts it when writing with Michael Hardt: “one might say that the common is what we share or, rather, it is a social structure and a social technology for sharing” [Hardt and Negri 2017, 97].) The key question for Negri is how to separate the common – in the sense of abstract labour “that gets appropriated by capital and becomes common” – from exploitation (2003).

Yet must the commons (and common) always be defined in relation to capitalism: as that which arises out of capitalism, or refuses, resists, undoes or otherwise works through and transcends it, as the concept of postcapitalism implies (Dardot and Laval 2019)? And might a comparable question be raised regarding the state? That is, can the commons and its redistribution of public property and public good only take shape within, and simultaneously in opposition to, particular configurations of the state and state infrastructure (e.g. communications, education, health, sanitation, transport)?

 

Wednesday
Jun112025

Publishing Activism within/without a Toxic University: new open access booklet

Announcing the latest title in Open Humanities Press' Combinatorial Books: Gathering Flowers series, which is edited by Janneke Adema, Simon Bowie, Gary Hall and Rebekka Kiesewetter:

Publishing Activism within/without a Toxic University

edited by the Radical Open Access Collective

https://www.openhumanitiespress.org/books/titles/publishing-activism-within-without-a-toxic-university/

Co-published by Post Office Press (POP) (https://hcommons.org/members/pop/) and Open Humanities Press, this experimental booklet brings together reflections from Radical Open Access (https://radicaloa.postdigitalcultures.org/) members on publishing activism and its relationship to the neoliberal university. Created as a side project to the Radical Open Access III: From Openness to Social Justice Activism conference (https://radicaloa.postdigitalcultures.org/conferences/radicaloa3/), it explores how publishing can respond to the ongoing crisis in higher education. The authors ask: How can we – as scholars, publishers and activists – engage with a university in perpetual crisis? How can we practice publishing activism within/without a toxic institution?

Inspired by the cadavre exquis technique of the Surrealists, the booklet adapts and (ab)uses this method to foster collaborative, responsive writing. It shows how multiple, potentially conflicting voices can coalesce around a shared crisis and move activist strategies forward in new ways.

It draws from three key ROAC titles published under open licenses: The Undercommons (Minor Compositions: https://www.minorcompositions.info/), Luescher, Klemenčič, and Jowi’s Student Politics in Africa (African Minds: https://www.africanminds.co.za/wp-content/uploads/2016/03/9781928331223_txt.pdf), and Conio’s (ed.) Occupy: A People Yet to Come (Open Humanities Press: https://openhumanitiespress.org/books/download/Conio_2015_Occupy-A-People-Yet-To-Come.pdf). These works, reflecting on protest, activism and student politics, served as a starting point for examining higher education through the lens of social justice publishing activism. The first text in the booklet directly responds to these books, initiating a chain of responses, each written within ten days. Contributors extended the preceding response, engaging with the booklet’s theme and, optionally, the ROAC back-catalogue. Designed by Alex Trencianska, Mia Dawson, and Lisha Wang, the booklet was 'unfolded' during the 3rd Radical Open Access Conference.

Editor Bio

Formed in 2015, the Radical Open Access Collective is a community of scholar-led, not-for-profit presses, journals and other open access projects. Now consisting of more than 80 members, we promote a progressive vision for open publishing in the humanities and social sciences. What we have in common is an understanding of open access as being characterised by a spirit of ongoing creative experimentation. We also share a willingness to subject some of our most established scholarly communication practices to creative critique, together with the institutions that sustain them (the university, the library, the publishing house, and so on). The collective thus offers a radical ‘alternative’ to the conservative versions of open access that are currently being put forward by commercially-oriented presses, funders, and policy makers.

Like all Open Humanities Press titles, Publishing Activism within/without a Toxic University is available open access (and can be downloaded for free):

https://www.openhumanitiespress.org/books/titles/publishing-activism-within-without-a-toxic-university/

Thursday
May152025

So that’s where theory’s got to — it’s living above the shop.

Metaphorically, the phrase 'living above the shop' carries several layered meanings:

  1. A blurring of personal and professional life

  2. Deep embeddedness in one’s practice

  3. Precarity and hustle

  4. Para-academic or DIY cultural spaces

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Last night, I was part of the audience for an event on the theme of ALTEREGOISM, asking: 'What are the consequences of "weirdness" entering the mainstream? How can the fluidity of identity online be used to increase play, connection, and experimentation rather than induce anxiety?'

Organised by the everyone is a girl collective in collaboration with APEX zine, it featured an exhibition of artwork, a durational performance, an open mic jam session and music, and began with a panel discussion featuring 'post-internet stars' Shumon Basar, Nella Piatek, Marisa Müsing, Zaiba Jabbar and Bailey Davis.

apex magazine london from www.eventbrite.co.uk

Not so long ago, a panel such as this - moderated by everyone is a girl's Ester Freider and Andrea Evgenieva from APEX, whose reference points, judging from the copy I picked up, include Timothy Morton, Mark Fisher, Sherry Turkle, Jean Baudrillard, Gilles Deleuze and Guy Debord — would have taken the form of a cultural theory or cultural studies seminar. It’d most likely have been found in a university setting — or, back in the 80s and 90s, an arts venue such as the ICA perhaps.

But ALTEREGOISM didn’t happen in an established, formal institution. It took place in a packed room above a vintage clothes shop called Bread & Butter in Shoreditch (it had to be East London!).

Nor did it involve just theory: it also brought together art, music, fashion, new media and performance. And it wasn’t only academics either but artists, designers, curators, writers, musicians, DJs, film-makers, publishers …

These are people who may be doing 'serious' research but — having grown up with social media — feel no need to wait until they’ve (nearly) got PhDs to start sharing their work and ideas. And when they do publish, it’s not (just) in academic spaces such as peer-reviewed journals. They’re used to publishing themselves — so they're creating their own journals, magazines, newsletters, podcasts, Tumblr communities, collectives and multi-media live events.

Of course, we shouldn’t get carried away about all this activity. It's not entirely new. There’s a long history of scholars and para-academics operating in 'third spaces' between the university and corporate mainstream, including small artists' bookshops, independent cafés and bars, and the back rooms of pubs. Nor should we get swept up by the romance of it all. A lot of this energy is about finding – or forging – a means for some kind of authentic personal expression of ‘who I really am’ in a cultural economy that increasingly refuses to offer secure, liveable wages for work that's interesting and fulfilling, let alone critical and creative. Consequently, it's not an arena free of ‘artrepreneurs’ either: people acting as entrepeneurs of themselves, their own lives and ideas. Nevertheless, events like this create a collective space to gather, to experiment, to have fun and play together — and so can be seen as a means of pushing back against the individualism and ‘main character energy’ that saturates much of cultural life, online and off.

At this point, it's tempting to try to come up with a spreadable phrase like 'universities are sooo over'. But that would be inaccurate. It'd also be unfair. Much of this would be impossible without higher education. Many of those involved are doing or have done MAs and PhDs as well as undergraduate degrees. If they're not currently employed in HE in some part- or full-time capacity, then they’re very much engaging with — and building on — the work academics continue to produce from within the university.

Still, for what are obvious reasons — job cuts, precarity, casualisation, managerialism, excessive workloads, the general shift away from theory to more conservative intellectual formations and frameworks — university events today often feel a lot less alive than what’s happening here above the shop.

 

Friday
May022025

Me and Bobby D

Yeah, right!

Apparently, Pirate Philosophy was an influence on Bob Dylan. Specifically, his track ‘Key West (Philosopher Pirate)’ from Rough and Rowdy Ways (2020), where the Nobel Laureate gives himself yet another moniker to set alongside all the rest: that of Pirate Philosopher.

As Steven Thwaits puts it: ‘Dylan’s borrowings from academics are … comedic skits of both admiration and mockery. He takes their work, which is often based in his work, creates something new, and sends it back.’

Never written on Dylan, so not sure how much it applies in this (very, very hard to believe) case. Still, can’t wait to see what he does with Masked Media.

See Steven Thwaits, ‘Bob Dylan’s Pirate Philosophy’, Substack, June 22, 2024, sjthwaits.substack.com/p/bob-d

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