View allAll Photos Tagged CyberCulture
"I see the impossible work being done by my friends at the federal agencies, the Pentagon, Nato, Five Eyes and the intelligence community. They are doing the impossible, for the ungrateful and with a fraction of the budgets required to render ta viable defense." - James Scott, senior fellow, Institute for Critical Infrastructure Technology (ICIT) and Center for Cyber Influence Operations Studies (CCIOS)
#Pentagon #Nato #FiveEyes #5Eyes #Intelligence #Defense #NationalSecurity #CyberWarfare #CyberWar #Warfare #CCIOS #ICIT #JamesScott #CyberSecurity #InfoSec
icitech.org/icit-introduces-center-for-cyber-influence-op...
in the exhibition Framing and Being Framed:The Uses of Documentary Photography curated by Nina Felshin for Zilkha Gallery Wesleyan University
Man With a Movie Camera: The Global Remake is a participatory video shot by people around the world who are invited to record images interpreting the original script of Vertov’s Man With A Movie Camera, upload them to dziga.perrybard.net where software developed specifically for this project archives, sequences and streams the submissions as a film. As people can upload the same shot more than once infinite versions of the film are possible.
to upload dziga.perrybard.net
Bigger Picture Commission Screening during Urban Screens Conference Oct 11-14 Manchester UK
Man With a Movie Camera: The Global Remake is a participatory video shot by people around the world who are invited to record images interpreting the original script of Vertov’s Man With A Movie Camera, upload them to dziga.perrybard.net where software developed specifically for this project archives, sequences and streams the submissions as a film. As people can upload the same shot more than once infinite versions of the film are possible.
To upload: dziga.perrybard.net
#hacking #Hackers #hacked #MindHackerz #TechTongue #technology #cybersecurity #infosec #security #CCIOS #ICIT #JamesScott #Cyberculture #cyberart #digitalar #inspiration
Thought provoking quote from James Scott, brings critical thinking and actual technical acumen to the table
#CyberCulture #cyberespionage #cyberwarrior #CCIOS #ICIT #JamesScott #CyberSecurity #InfoSec #DarkWeb #DeepWeb #informationwarfare #CyberWarfare #CyberWar #Warfare
#hacking #Hackers #hacked #MindHackerz #TechTongue #Cyberculture #cyberart #digitalar #technology #cybersecurity #infosec #security #CCIOS #ICIT #JamesScott #inspiration
On January 18th 2012, every single ICanHasCheezburger site (including Know Your Meme etc) displayed this notice.
editorial cartoon about buddha by laughzilla for thedailydose.com
The Legend of Buddha
Pre-Cyberculture
Pre-Babes Culture
Pre-Relationship Industry
Pro-Spirituelasticity
Pro-People in General
Anti-Diet
~~ www.thedailydose.com/archives/2011/the-daily-dose-Sunday,...
James Scott, Senior fellow, Institute for Critical Infrastructure Technology (ICIT) & Center for Cyber Influence Operations Studies (CCIOS)
#texhcracky #Teknologi #MindHackerz #cybersecurity #infosec #security #teknojurnal #CCIOS #ICIT #JamesScott #Cyberculture #cyberart #digitalar #tech #inspiration #quotes
"Cyber Warfare is as much about Psychological strategy as Technical Prowess" - James Scott, senior fellow, Institute for Critical Infrastructure Technology (ICIT) and Center for Cyber Influence Operations Studies (CCIOS)
#CyberWarfare #CyberWar #Warfare #psychologicalwar #psyops #informationwarfare #CCIOS #ICIT #JamesScott #CyberSecurity #InfoSec #NationalSecurity #USA #CyberCulture
icitech.org/icit-introduces-center-for-cyber-influence-op...
Ransomware is unique among Cyber Crime because in order for the attack to be successful, it requires the victim to become a willing accomplice after the fact’ - James Scott
purplegriffon.com/blog/10-cyber-security-threats-in-2017
#Cyberculture #cybersecurity #infosec #CCIOS #ICIT #JamesScott #Syneidis #DataSecurity #InstituteforCriticalInfrastructureTechnology #CenterforCyberInfluenceOperationsStudies #legend
#hacking #Hackers #hacked #MindHackerz #TechTongue #technology #cybersecurity #infosec #security #CCIOS #ICIT #JamesScott #Cyberculture #cyberart #digitalar #inspiration
#legendary #geek #techie #nerd #techy #CyberWar #informationwarfare #CyberWarfare #CCIOS #ICIT #JamesScott #Cyberculture #cyberart #digitalar #leadership #life #motivation #cybersecurity #infosec #security #wisdom #CyberConnect2017 #CyberConnect #Russia #CyberCulture #tech #inspiration #legend
Android wind-up toy and Google marketing on KitKat wrapper against wooden desk. See my Augmented Me cyberculture and digital technology blog for more.
Warsaw - Zacheta National Gallery of Art (www.zacheta.art.pl)
Live Seed Project (Poland) - visual art phiLipp geist/ videogeist
"Zacheta" National Gallery of Art.
pl. Ma'achowskiego 3
Warszawa
Warsaw Electronic Festival 2005 / 30.10.05
"Creativity in Motion" October 15 - November 5, 2005
Electronic music and new media are created away from "a place". Music, new media and technology, all constantly intertwining. It makes us feel like we are surrounded by never-ending changes, development and possibilities to create something new. We are fascinated by these changes. This is why since 2002 we have been showing you our own point of view on art and technology. Our lifestyles change. Nowadays even 20-year-old artists decide what the art of tomorrow might look like. A revolution is on its way. Everything happens faster. The Internet became a tool. It is a workshop, a school and a studio, all at the same time. A thought became a fabric.
Every single project that we present here evolved from one simple thought: to be able to move freely and overcome all the boundaries that keep us tied to one place. Now it is possible. Internet not only became a mean of exchanging information but it also made it possible to create and share. This progress leads us to new music and media projects. It is our inspiration. This is why once again we decided to show you what a breeze of cyberculture can bring, what laptops sound like and what bits look like.
What is the WEF'
The WEF is an international festival which reveals music created with and under the influence of technology. At the Festival you can experience both electronic music and new media art. One of our goals is to show the context in which all these things are brought to life. This is why we also invite professors and experts who show you how they perceive the rapidly moving progress and new art. The WEF is an annual event and dates back to 2002. As always also this year it takes place in Warsaw.
This is a frame from a video. You can watch it on Vimeo.
#hacking #Hackers #hacked #MindHackerz #TechTongue #Cyberculture #cyberart #digitalar #technology #cybersecurity #infosec #security #CCIOS #ICIT #JamesScott #inspiration
The security theater we are witnessing in our election system boasting the illusion of security via ‘clunky as heck’ and air gap defense will do nothing against the real and sophisticated adversarial landscape that is zeroing in on our #democracy. - James Scott, Senior fellow, Institute for Critical Infrastructure Technology (ICIT)
#institute #for #critical #infrastructure #Technology #CCIOS #ICIT #JamesScott #securitytheater #election #security #AirGap #democracy #HackingElections #USA #RiggingElections #CyberCulture #Elections #Vote #blackbox #technology
#hacking #Hackers #hacked #MindHackerz #TechTongue #Cyberculture #cyberart #digitalar #technology #cybersecurity #infosec #security #CCIOS #ICIT #JamesScott #inspiration
Rimma Timofeeva
Badlands
We focused on the NPCs who support the world of Cyberpunk 2077 behind the scenes and cut out photographs of their daily lives in Night City.
Although we tend to focus on NPCs who are involved with the story line and the main character, the majority of NPCs present in the city also have their own individual faces and lives. Each of them is assigned a name and, to a limited extent, they all perform human activities. It is no exaggeration to say that the fascinating worldview of Cyberpunk 2077 is supported by them.
I wanted to express my respect for the many faces of these often-overlooked characters, and for the creators of CD Projekt Red, who put a lot of hard work into creating these often-overlooked NPCs, and even behind the scenes.
Black&white
Photomode photo retouching only
Unofficial fanmade photos of the game "Cyberpunk 2077". Not approved by CD PROJEKT RED.
Qualeasha Wood: code_anima
May 24, 2024 - September 22, 2024
Qualeasha Wood: code_anima explores identity, physical and digital boundaries, and the process of individuation through analysis of complex and socially accepted paradoxes. Defined as "an individual's true inner self," anima serves as a leitmotif in Wood’s introspective work, which examines the archetypes found within physical and digital societies. As the artist states, "This body of work draws inspiration from the concept of *deus ex machina* — a narrative device that introduces an unexpected, external force to resolve a complex situation. This device allows us to highlight the paradoxical position of Black women in society — cast simultaneously as both saviors and scapegoats within a white supremacist framework."
Wood's technical skills are evident in the digital collages of her tapestries as well as the colorful scenes of her hand-made tuftings. The materiality of these textiles (the warp and weft) are embedded with a "code," serving as a symbol for the inner workings of the dual experiences felt by Black people, particularly Black women, as well as the multifaceted online identities that mirror or oppose our physical existence.
For Wood, "code_anima delves into the complexities of identity, expectation, and erasure through the prisms of race, gender, and sexuality. This exhibition is a critical examination of the roles historically ascribed to Black women, which demand both a resolution to systemic issues and the simultaneous stripping of personal autonomy and agency."
Qualeasha Wood (b. 1996 Long Branch, New Jersey) is a textile artist whose work contemplates realities around black female embodiment that do and might exist. Inspired by a familial relationship to textiles, queer craft, Microsoft Paint, and internet avatars, Wood's tufted and tapestry pieces mesh traditional craft and contemporary technological materials. She navigates both an Internet environment saturated in Black Femme figures and culture and a political and economic environment holding that embodiment at the margins. Like the vast majority of her age-peers, Wood has operated one mortal and multiple digital avatars since pre-adolescence. For her, intuitive combinations of analog and cybernetic compositional processes make for a contemporary exploration of Black American Femme ontology.
While Wood’s tapestries blend images from social media with religious, specifically Catholic, iconography, her ‘tuftings’ represent cartoon-like figures that recall the racist caricatures widespread in popular family programs of the early-mid-20th century and beyond. The tuftings have a distinctly different visual style from the artist’s tapestry pieces. In them, Wood adopts a naïve aesthetic that calls on the nostalgia of cartoon animations and their association with racial stereotyping to unpack notions of Black girlhood. Despite their formal simplicity, the tuftings reveal a lurking tension drawn from the artist’s own experiences of consuming media rife with anti-Black prejudice throughout her life. Where the tapestries are absorbed in consumption and cyberculture, the tuftings speak to inherited trauma and necessarily implicate accountability in the viewer.
Wood has exhibited at The Art Institute of Chicago, The Metropolitan Museum of Art (New York), Hauser and Wirth (New York, Los Angeles, and Somerset, UK), Kendra Jayne Patrick (New York), Pippy Houldsworth Gallery, (London), Cooper Cole (Toronto), New Image Art (Los Angeles), and more. Her work is held in institutional collections, such as The Metropolitan Museum of Art, as well as international private collections. Wood lives and works in Brooklyn and Philadelphia, and is represented by Gallery Kendra Jayne Patrick and Pippy Houldsworth Gallery.
_____________________________________________
Located in the heart of Uptown Charlotte at Levine Center for the Arts, the Gantt is the epicenter for the best in visual, performing and literary arts reflecting the African diaspora.
www.ganttcenter.org/visit-the-gantt/
Sometimes standing up for what’s right means having the courage to blaze your own trail.
Harvey Bernard Gantt grew up in the 1940s and 50s in then-segregated Charleston, South Carolina. As the oldest child of Wilhelmina and Christopher Gantt, he often attended NAACP meetings with his father. It was there, and at the family dinner table with his four sisters, that he began to appreciate the importance of advocacy and the injustice of racial discrimination.
After graduating second in his class from Burke High School in 1960, Gantt left home to study architecture at Iowa State University. In January 1963, after a legal battle that escalated to the U.S. 4th Circuit Court of Appeals, Gantt became the first African-American student accepted at Clemson University. In September 1963, Lucinda Brawley became the first African-American woman to be admitted to Clemson and in October 1964 married Harvey. Harvey Gantt graduated with honors from Clemson in 1965, earning a Bachelor’s degree in Architecture and later a Master of City Planning from Massachusetts Institute of Technology (MIT).
He moved to Charlotte after graduating from MIT, and, in 1971, co-founded Gantt Huberman Architects. A pioneer in blending urban planning with the practice of architecture, Gantt Huberman employed a diverse group of professionals who were charged with designing buildings that encourage community. As a result, the firm has developed some of the city’s most iconic landmarks, including the Charlotte Transportation Center, TransAmerica Square, ImaginOn, Friendship Missionary Baptist Church, and the Johnson C. Smith University Science Center.
While significant, Gantt’s impact on the city extends beyond improving the built environment. He joined Charlotte City Council in 1974 and again broke barriers when he was elected Charlotte’s first African-American mayor in 1983. Remaining in office for two terms, Gantt stood shoulder-to-shoulder with other Charlotte leaders committed to establishing a New South City.
SouthBound Extra: A Preview Of Harvey Gantt Interview
Gantt continues to advocate for equity and equal rights and is often tapped to serve on civic, cultural, and business boards, and to lead philanthropic efforts and community initiatives. In 2009, the former Afro-American Cultural Center opened its doors to a new, award-winning facility and was renamed the Harvey B. Gantt Center for African-American Arts + Culture in honor of Harvey B. Gantt, an American trailblazer.
Naming The Center
When it was first proposed that this building be named after me, I hesitated. Being a man of tradition, I always felt it was more appropriate to name a building or street for someone after their passing, as a way to honor their work. Admittedly, it took some convincing by Board Chair Earl Leake and others. After much processing and discussion with my wife, Cindy, the prevailing factor that led me to say "yes" was that it was for the sake of posterity. I envisioned walking into the building with my grandchildren and had thoughts of others doing the same with future generations. I saw them talking about the sacrifices of many who made Charlotte great, and the enormous history and accomplishments of the African American community. And I remembered my parents and others who served as inspirations to me. I am forever grateful to them for being the driving force and motivation in my life.
I thought about the enormous history of the residents of the historic Second Ward community of "Brooklyn," where the Gantt Center now stands. I hope that those who have already "crossed over" can smile and feel proud knowing that we have not forgotten their sacrifices; how they nurtured, pushed and prodded young minds to strive for excellence. We are forever grateful to them. Brooklyn residents often referred to the old Myers School as the "Jacob's Ladder School." Its skyward stairway was a visible reminder of the importance of aspiring to greater things and a good education. Not just teachers, but an entire community rallied behind the youth, molding bright minds.
That's why I agreed to the naming of the building, and that's why I want you to join me in celebrating our history and the dawning of a new day for all of us. Charlotte is a great community and the Carolinas are a great region. I call this home because the city and community represent all that is symbolic to steadfastness and a "can do" attitude. While our nation and world still struggle with acknowledging and appreciating our differences, the Gantt Center can serve as a vehicle for people to come celebrate African American art, history and culture. Residents and visiting friends alike will have numerous opportunities to enjoy all aspects of Levine Center for the Arts. The Gantt Center will serve as one of the entry points to experience the arts, sporting events and many other amenities that Charlotte has to offer. Thank you for your interest in and support of the Harvey B. Gantt Center for African American Arts + Culture. May this edifice always stand as a symbol that this community and nation are places where we all "belong".
By Harvey B. Gantt
Qualeasha Wood: code_anima
May 24, 2024 - September 22, 2024
Qualeasha Wood: code_anima explores identity, physical and digital boundaries, and the process of individuation through analysis of complex and socially accepted paradoxes. Defined as "an individual's true inner self," anima serves as a leitmotif in Wood’s introspective work, which examines the archetypes found within physical and digital societies. As the artist states, "This body of work draws inspiration from the concept of *deus ex machina* — a narrative device that introduces an unexpected, external force to resolve a complex situation. This device allows us to highlight the paradoxical position of Black women in society — cast simultaneously as both saviors and scapegoats within a white supremacist framework."
Wood's technical skills are evident in the digital collages of her tapestries as well as the colorful scenes of her hand-made tuftings. The materiality of these textiles (the warp and weft) are embedded with a "code," serving as a symbol for the inner workings of the dual experiences felt by Black people, particularly Black women, as well as the multifaceted online identities that mirror or oppose our physical existence.
For Wood, "code_anima delves into the complexities of identity, expectation, and erasure through the prisms of race, gender, and sexuality. This exhibition is a critical examination of the roles historically ascribed to Black women, which demand both a resolution to systemic issues and the simultaneous stripping of personal autonomy and agency."
Qualeasha Wood (b. 1996 Long Branch, New Jersey) is a textile artist whose work contemplates realities around black female embodiment that do and might exist. Inspired by a familial relationship to textiles, queer craft, Microsoft Paint, and internet avatars, Wood's tufted and tapestry pieces mesh traditional craft and contemporary technological materials. She navigates both an Internet environment saturated in Black Femme figures and culture and a political and economic environment holding that embodiment at the margins. Like the vast majority of her age-peers, Wood has operated one mortal and multiple digital avatars since pre-adolescence. For her, intuitive combinations of analog and cybernetic compositional processes make for a contemporary exploration of Black American Femme ontology.
While Wood’s tapestries blend images from social media with religious, specifically Catholic, iconography, her ‘tuftings’ represent cartoon-like figures that recall the racist caricatures widespread in popular family programs of the early-mid-20th century and beyond. The tuftings have a distinctly different visual style from the artist’s tapestry pieces. In them, Wood adopts a naïve aesthetic that calls on the nostalgia of cartoon animations and their association with racial stereotyping to unpack notions of Black girlhood. Despite their formal simplicity, the tuftings reveal a lurking tension drawn from the artist’s own experiences of consuming media rife with anti-Black prejudice throughout her life. Where the tapestries are absorbed in consumption and cyberculture, the tuftings speak to inherited trauma and necessarily implicate accountability in the viewer.
Wood has exhibited at The Art Institute of Chicago, The Metropolitan Museum of Art (New York), Hauser and Wirth (New York, Los Angeles, and Somerset, UK), Kendra Jayne Patrick (New York), Pippy Houldsworth Gallery, (London), Cooper Cole (Toronto), New Image Art (Los Angeles), and more. Her work is held in institutional collections, such as The Metropolitan Museum of Art, as well as international private collections. Wood lives and works in Brooklyn and Philadelphia, and is represented by Gallery Kendra Jayne Patrick and Pippy Houldsworth Gallery.
_____________________________________________
Located in the heart of Uptown Charlotte at Levine Center for the Arts, the Gantt is the epicenter for the best in visual, performing and literary arts reflecting the African diaspora.
www.ganttcenter.org/visit-the-gantt/
Sometimes standing up for what’s right means having the courage to blaze your own trail.
Harvey Bernard Gantt grew up in the 1940s and 50s in then-segregated Charleston, South Carolina. As the oldest child of Wilhelmina and Christopher Gantt, he often attended NAACP meetings with his father. It was there, and at the family dinner table with his four sisters, that he began to appreciate the importance of advocacy and the injustice of racial discrimination.
After graduating second in his class from Burke High School in 1960, Gantt left home to study architecture at Iowa State University. In January 1963, after a legal battle that escalated to the U.S. 4th Circuit Court of Appeals, Gantt became the first African-American student accepted at Clemson University. In September 1963, Lucinda Brawley became the first African-American woman to be admitted to Clemson and in October 1964 married Harvey. Harvey Gantt graduated with honors from Clemson in 1965, earning a Bachelor’s degree in Architecture and later a Master of City Planning from Massachusetts Institute of Technology (MIT).
He moved to Charlotte after graduating from MIT, and, in 1971, co-founded Gantt Huberman Architects. A pioneer in blending urban planning with the practice of architecture, Gantt Huberman employed a diverse group of professionals who were charged with designing buildings that encourage community. As a result, the firm has developed some of the city’s most iconic landmarks, including the Charlotte Transportation Center, TransAmerica Square, ImaginOn, Friendship Missionary Baptist Church, and the Johnson C. Smith University Science Center.
While significant, Gantt’s impact on the city extends beyond improving the built environment. He joined Charlotte City Council in 1974 and again broke barriers when he was elected Charlotte’s first African-American mayor in 1983. Remaining in office for two terms, Gantt stood shoulder-to-shoulder with other Charlotte leaders committed to establishing a New South City.
SouthBound Extra: A Preview Of Harvey Gantt Interview
Gantt continues to advocate for equity and equal rights and is often tapped to serve on civic, cultural, and business boards, and to lead philanthropic efforts and community initiatives. In 2009, the former Afro-American Cultural Center opened its doors to a new, award-winning facility and was renamed the Harvey B. Gantt Center for African-American Arts + Culture in honor of Harvey B. Gantt, an American trailblazer.
Naming The Center
When it was first proposed that this building be named after me, I hesitated. Being a man of tradition, I always felt it was more appropriate to name a building or street for someone after their passing, as a way to honor their work. Admittedly, it took some convincing by Board Chair Earl Leake and others. After much processing and discussion with my wife, Cindy, the prevailing factor that led me to say "yes" was that it was for the sake of posterity. I envisioned walking into the building with my grandchildren and had thoughts of others doing the same with future generations. I saw them talking about the sacrifices of many who made Charlotte great, and the enormous history and accomplishments of the African American community. And I remembered my parents and others who served as inspirations to me. I am forever grateful to them for being the driving force and motivation in my life.
I thought about the enormous history of the residents of the historic Second Ward community of "Brooklyn," where the Gantt Center now stands. I hope that those who have already "crossed over" can smile and feel proud knowing that we have not forgotten their sacrifices; how they nurtured, pushed and prodded young minds to strive for excellence. We are forever grateful to them. Brooklyn residents often referred to the old Myers School as the "Jacob's Ladder School." Its skyward stairway was a visible reminder of the importance of aspiring to greater things and a good education. Not just teachers, but an entire community rallied behind the youth, molding bright minds.
That's why I agreed to the naming of the building, and that's why I want you to join me in celebrating our history and the dawning of a new day for all of us. Charlotte is a great community and the Carolinas are a great region. I call this home because the city and community represent all that is symbolic to steadfastness and a "can do" attitude. While our nation and world still struggle with acknowledging and appreciating our differences, the Gantt Center can serve as a vehicle for people to come celebrate African American art, history and culture. Residents and visiting friends alike will have numerous opportunities to enjoy all aspects of Levine Center for the Arts. The Gantt Center will serve as one of the entry points to experience the arts, sporting events and many other amenities that Charlotte has to offer. Thank you for your interest in and support of the Harvey B. Gantt Center for African American Arts + Culture. May this edifice always stand as a symbol that this community and nation are places where we all "belong".
By Harvey B. Gantt
#ArtOfTheHak #Troublemaker #CCIOS #ICIT #JamesScott #NationalSecurty #USA #WashingtonDC #Defense #Russia #China #NorthKorea #Korea #CyberEspionage #CyberSecurity #EspionageCulture #psychologicalwar #psyops #informationwarfare #CyberCulture #CyberWarfare #politicalWarfare
icitech.org/icit-introduces-center-for-cyber-influence-op...
#Cyberculture #cyberart #digitalar #CyberWar #informationwarfare #CyberWarfare #CCIOS #ICIT #JamesScott #leadership #life #motivation #cybersecurity #infosec #security #success #wisdom
icitech.org/icit-introduces-center-for-cyber-influence-op...
#CyberWarrior #CyberWar #CCIOS #ICIT #JamesScott #ArtOfTheHak #NationalSecurty #Defense #Russia #China #NorthKorea #Korea #CyberEspionage #CyberSecurity #EspionageCulture #psychologicalwar #CyberCulture #psyops #informationwarfare #CyberWarfare #politicalWarfare
What I find *extremely* interesting about this photo (oh, and the associated article is here), is that it so perfectly captures another unstated "cultural artifact" of gaming - that pretty much all of the medium's designers, curators, journalists, etc. are white men. Sigh.
Capitolo 1° _ La Donna e il metallo
" An Electric Subconscious " is a photographic project consists of five chapters , each chapter is represented an aspect of cybercultures.
GrenNet Rashid
Skye Reed
Badlands
We focused on the NPCs who support the world of Cyberpunk 2077 behind the scenes and cut out photographs of their daily lives in Night City.
Although we tend to focus on NPCs who are involved with the story line and the main character, the majority of NPCs present in the city also have their own individual faces and lives. Each of them is assigned a name and, to a limited extent, they all perform human activities. It is no exaggeration to say that the fascinating worldview of Cyberpunk 2077 is supported by them.
I wanted to express my respect for the many faces of these often-overlooked characters, and for the creators of CD Projekt Red, who put a lot of hard work into creating these often-overlooked NPCs, and even behind the scenes.
Black&white
Photomode photo retouching only
Unofficial fanmade photos of the game "Cyberpunk 2077". Not approved by CD PROJEKT RED.
Installation at Joyce Yahouda Gallery Montreal
Man With a Movie Camera: The Global Remake is a participatory video shot by people around the world who are invited to record images interpreting the original script of Vertov’s Man With A Movie Camera, upload them to dziga.perrybard.net where software developed specifically for this project archives, sequences and streams the submissions as a film. As people can upload the same shot more than once infinite versions of the film are possible.
To upload: dziga.perrybard.net
*part of my ongoing project addressing the constructed identity within 'post-photographic' portraiture.
See more on my blog! paradox-pictures.blogspot.com/
#Hacking #institute #for #critical #infrastructure #Technology
#center #for #Cyber #influence #operations #studies #NationalSecurity #CyberWar #informationwarfare #CyberWarfare #ICIT #ArtOfTheHak #CCIOS #JamesScott #CyberSecurity #InfoSec #CyberCulture
So who can blame me for looking at the ceiling during my presentation, when the ceiling looks like this?
#politics #vote #democracy #Revolution #Truth #HackingElections #Inspiration #FakeNews #USElectionDay #USA #RiggingElections #CyberCulture #legaltech #privacy #legal #law #encryption #cybersec #nationalsecurity #JamesScott #CyberIntelligence #Elections #Elections2020 #blackbox #technology
Valentina Vargas
Badlands
We focused on the NPCs who support the world of Cyberpunk 2077 behind the scenes and cut out photographs of their daily lives in Night City.
Although we tend to focus on NPCs who are involved with the story line and the main character, the majority of NPCs present in the city also have their own individual faces and lives. Each of them is assigned a name and, to a limited extent, they all perform human activities. It is no exaggeration to say that the fascinating worldview of Cyberpunk 2077 is supported by them.
I wanted to express my respect for the many faces of these often-overlooked characters, and for the creators of CD Projekt Red, who put a lot of hard work into creating these often-overlooked NPCs, and even behind the scenes.
Black&white
Photomode photo retouching only
Unofficial fanmade photos of the game "Cyberpunk 2077". Not approved by CD PROJEKT RED.