![]() We wanted to move to a live and real-time format, and Twitch was where Trust increasingly located its events, for the culture of participation that existed around the platform. We began researching how to make legible and thinkable the backend infrastructures that artists working with advanced technology develop.Īfter our initial research phase of looking at “skill trees” in video games and the Operation Chain methodology used in anthropology and archaeology, we developed a strategy that started with pre-recorded videos of artists showing their backend infrastructures - whatever they consider those to be - and playing through their working processes to glimpse the interfaces they use. They were interested in how Trust - a space in Berlin that expanded into a wide-reaching online community through its Discord server - had developed participatory event formats. They spoke with Spike Editor-at-Large Adina Glickstein about lore, solidarity, and the nature of (un)certainty.Īdina Glickstein: What’s Hivemind, and where did it come from?Ĭalum Bowden, Joanna Pope, and Will Freudenheim: Hivemind emerged from two years of research and development work with Serpentine, right when the nascent R&D Platform was launching. ![]() Taking the metaphor of a “backend” from computing and extending it across their research, they use games as a way of reframing work and acknowledging under-appreciated artistic labor. Calum Bowden, Joanna Pope, and Will Freudenheim of Berlin-based “utopian conspiracy” Trust recently launched Hivemind, a Serpentine Digital commission that explores game-world navigation as a practice of knowledge sharing. ![]()
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