DISNOVATION.ORG is an artist led action-research collective founded in 2012 in Paris. They develop interdisciplinary inquiries and practices involving artists, anthropologists, philosophers, activists, engineers, architects, designers and hobbyists. At the crossroads between contemporary art, research and hacking, the collective creates situations of debate, speculation and disturbance, that challenge dominant ideologies such as techno-solutionism and infinite growth, and foster post-growth imaginaries and practices.
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In the context of omnipresent telecommu-nications surveillance, The Pirate Cinema makes visible the hidden activity and geography of peer-to-peer file sharing. The project is presented as a monitoring room, which shows P2P transfers happening in real time on networks using the BitTorrent protocol.
The installation produces an arbitrary cut-up of the files currently being exchanged. This immediate and fragmentary rendering of digital activity, with information concerning its source and destination, thus depicts the topology of digital media consumption and uncontrolled content dissemination in a connected world.
The installation produces an arbitrary cut-up of the files currently being exchanged. This immediate and fragmentary rendering of digital activity, with information concerning its source and destination, thus depicts the topology of digital media consumption and uncontrolled content dissemination in a connected world.
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Shanzhai Archeology is a collection of original phones from the technological interbreeding Made in China. This project casts a critical look at the production of technology through an artistic interpretation of a recent historical fact, still poorly known: the shanzhai.
Often presented as mere counterfeits of low quality, these objects nevertheless draw many unusual technological trajectories that make them the revealers of technological possibilities literally out of European standards. As odd looking hybrids, these puzzling artefacts question a hyper-normalised western technological imaginary
Often presented as mere counterfeits of low quality, these objects nevertheless draw many unusual technological trajectories that make them the revealers of technological possibilities literally out of European standards. As odd looking hybrids, these puzzling artefacts question a hyper-normalised western technological imaginary