dotcom Séance


Simon Denny
Guile Twardowski

for an on-chain spiritism session
to revive ghosts burst in
the dot-com bubble.

• • •

Twenty-one dotcom era companies have been summoned for revival.
Each company includes an ENS domaina new logo-NFT designed by Guile Twardowski—the artist behind Cryptokitties—and a suite of hidden text-to-image logo-NFTs by Cosmographia that Guile drew inspiration from.

Minting any NFT allows you to claim a subdomain on the company’s new ENS domain. Owner of the Twardowski logo-NFTs earns the title of CEO on each company’s profile page.

No candles are needed for this web3 séance of web1 spirits!

…here, we run on gas.

©️folia, Simon Denny, Guile Twardowski, Cosmographia at accessed on 20/02/2023

Teslaism: Economics After the End of the End of the Future – Bahar Noorizadeh

Teslaism: Economics After the End of the End of the Future (2022) – teaser 2

Teslaism is a 3rd person racing musical game featuring Elon Musk and his self-driving car/lover and life coach, as they drive towards a shareholder meeting in a post-gamified Berlin landscape.

The work takes the newly built Gigafactory in Berlin as a prism to describe the emergence of Teslaism (succeeding Post-fordism) as a novel system of production and consumption predicated on advanced storytelling, financial worldbuilding, and imagineering “the look of the future.”

The Teslaist CEO is a collage artist. Weaving together one tweet, one dance move, one meme after another, he creates a set of perpetually postponed and too-fabulous-to-be-fake narratives to make time make power.

If post-industrial Detroit was soundtracked to techno’s futures, the age of Teslaism seeks its own common sonic imaginaries: forms of resistance inhabiting our exceedingly financialized cities.

The original draft of Teslaism was commissioned for Tresor 31: Techno, Berlin, and the Great Freedom, an exhibition reflecting on three decades of musical evolution, social change and city development from Berlin to Detroit, told through the lens of Techno’s history (July-Aug 2022.)

Conic sections – XOR Gate (brainchild of Gerald Donald, one half of Drexciya and Dopplereffekt)
Helena Hauff – Humanoid Fruit (Unreleased)
GRV Tr 4 – TV Victor

All tracks are courtesy of Tresor Records and the artists

[text copied from Bahar Noorizadeh]

Augmented Reality Artwork Vandalized

©️Sebastian Errazuriz

Augmented Reality Artwork Vandalized – Sebastian Errazuriz

Medium: AR effect Location: New York’s Central Park Date: 2017


Deface, vandalise, DDOS, breach, appropriate, override:

digital graffiti

What classifies as a counteraction to the corporatisation of the realm between public space and virtual space (a.k.a. social media corporations)? Where is this virtual public space? How do we experience virtual reality without being monopolised by corporate content? Social interactions take place as if they are merely a marketing play. Creativity as a virtual branding game. The ability to assemble virtual images of things that either are not physically present or are not conceived, created or considered by others -irl- in the same way. In 2017, a Snapchat X Jeff Koons augmented reality collab 3D sculpture of Koons’ famous Balloon Dog became digitally visible in New York’s Central Park. 24 hours after its online release, the artist Sebastian Errazuriz and his team from CrossLab administered a duplicate 3D AR Balloon Dog + graffiti. Connected by geo-tag to the exact coordinates, the “vandalised” AR sculpture replaces the original AR object owned by a company.

How to Disappear

How to Disappear – Total Refusal

Medium: Battlefield video game machinima essay film Date: 2020.

About How to Disappear

“How to Disappear” is an anti-war movie in the true sense of the word, searching for possibilities for peace in the most unlikely place of an online war game. It’s a tribute to disobedience and desertion – in both digital and physical-real warfare.

About Total Refusal

Total Refusal is an open artists’ collective which criticizes and artistically appropriates contemporary video games. However, as most mainstream game narratives employ the same infinite loops of reactionary tropes, the genre largely fails to challenge the values of their players and instead affirms hegemonial moral concepts. Acknowledging that this media is currently not realizing its cultural potential, we aim to appropriate digital game spaces and put them to new use. Moving within games but casting aside the intended gameplay, we rededicate these resources to new activities and narratives, looking to create “public” spaces with a critical potential.

Vimeo link

The Convenience Store

The Convenience Store – Jonne Hansson

video still from The Convenience Store, 2018, digital video from Grand Theft Auto V in-game editor (PC), voice-over by Jonne Hansson, August Bällgren and Evelina Maria Odette Jönsson, sound design by Agatha Lewandowski

The story follows three (not long time ago) graduated artists who went to Umeå Academy of Fine Arts in Sweden and then moved to the fictional city Los Santos (based on Los Angeles) in hope to succeed as artists. They have struggled in living and working within different artistic fields. Some years have passed since they all graduated, and one day they accidentally meet each other in a convenience store. In a setting, similar to Kevin Smith’s cult classic “Clerks”, they are awkwardly starting to have a strange, meta-referential conversation with each other.

Jonne Hansson

MILAN MACHINIMA FESTIVAL interview linkVimeo link


r/place was first launched by Reddit on April 1, 2017, and was revived a few days ago (April 1-5, 2022). Signed in Reddit users could place one pixel at a time, once every five minutes, anywhere on the digital canvas by tapping/clicking on it. The pixels or tiles form a real-time mosaic curated by (a.o. sub-Reddit and Discord?) groups who often fought to not be “painted over”, i.e. to keep their image on the canvas. A truly collective colourful piece. This image is a screenshot, the original digital artwork is wiped clean again.

For more information about the mosaic icons visit:

extreme whitespace

Amy Alexander – extreme whitespace

These live coding works are created in the Linux/Unix text terminal computer environment. Its Perl script modifies the terminal into a real-time visual display. Text, spaces, and commands are typed and executed; multiplying, distorting, shifting, and changing colours create lines, patterns and transform graphic visuals. Got to love the computational aesthetics of 2004, low-tech digital text performance and the minimal ingenuousness of programmed text streams illustrative of the early days of the internet. A sample of the digital past.

link 1 / link2