Contracted and Expanded (2010) is exhibited in the “Black Noise” show at Akbank Sanat in Istanbul from September 9 to November 18 December 23, 2017.

Contracted and Expanded is part of the “Tension Series“, which is a set of explorations combining dynamic drawing with network processes to explore the self-organizing behavior in complex networks.

Black Noise
September 9 –November 18 December 23, 2017

Akbank Sanat
Istiklal Cad. No. 8
Beyoglu, Istanbul, Turkey
Hours: Tuesday–Saturday 10:30am–7:30pm

Artists: Burak Arikan, Servet Cihangiroglu, Didem Erk, Richard Jochum, Mirko Lazović, Cengiz Tekin, Anna Vasof

Curators: Ekmel Ertan, Isin Onol

In fields such as audio engineering, electronics and physics the colour of noise refers to the spectrum of energy that it carries. White, pink or black noise have different characteristics. Black noise is a type of noise where the dominant energy level is zero throughout all frequencies, with occasional sudden rises; it is also defined as silence.

Contrary to general consideration, sound and silence are not each other’s opposite, but they are mutually inclusive. Their complex relationship becomes visible in this impossible set: sound is a superset of silence, and silence of sound; and both are contained by that which they contain. Silence has a sound, and with it, a measurable, transformable power. The opposite of this proposition is also possible: when sound loses its content, context, and meaning, it is transformed into noise, and noise into silence. Becoming silent and silencing do not point to a loss of power, and neither does the presence of noise refer to the existence, or the acquisition of power.

The contemporary art project, Black Noise, explores the complex relationship between sound and silence; it focuses on the transformation, the function, the functionlessness, the poetry, the occasional meaninglessness, and sometimes on the power of sound, as a means of artistic expression, in various different spheres. By activating the wide range of associations created by sound and silence, the exhibition encourages the works that carry social references to communicate with one another and with the viewer.

Monovacation (2013) is installed in the Designing Hope exhibition at Node Forum in Frankfurt from 26 June to 2 July 2017.

I will be giving a talk on data asymmetry and use of complex networks on Saturday July 1st 1:30pm at Mousonturm Karen Eliot Stage.

The talk will be followed up by a two-day Graph Commons Workshop: Mapping Civic Data Networks July 1st Saturday 2:30 pm – 5:30 pm and July 2nd Sunday 2:30 pm – 5:30 pm. Register for the workshop here.

Designing Hope
26 June – 2 July 2017
NODE17 Forum for Digital Arts

Hope fuels our actions to change the present and aspire for a better future. Hope bears transformative power and is in itself a creative and formative force. The hopeful mind does not give up but continues to invent solutions for problems it is faced with. It constantly imagines alternatives for the given, utopias that have the potential of becoming true. But this restless pursuit of the better is what makes hope a bittersweet pill, as it makes us endure the worst just for the sake of hoping that some day things might change, as long as we continue working and fighting for it. Hope is what’s left to humankind after Pandora opened her mythical box. The great evils escaped torturing us from then on – however, hope remained. The question raised is whether hope is the means to challenge all evils or, as German philosopher Nietzsche would put it, the greatest evil of them all? Either way: Hope is a mighty force.

This is what makes it so appealing to designers, politicians and advertisers. Hope can be used and abused by stirring up fears or amplifying confidence. The tools for this are the rhetorics of hope which manifest in images and imaginaries or in endless speeches peppered with the adequate keywords and delivered in the right tone. Technologies play a crucial part in this, as they are invented and used to maintain these rhetorics. At the same time they are also subject to our hopes. Although we don’t follow a modernist idea of technological progress leading to a brighter future anymore, we still engineer our world to tackle ecological, political and social deficits.

The exhibition “Designing Hope” gathers international artists who reflect on this ambiguity of hope and its making. Their works confront us with utopian and dystopian narrations, with investigations into the structures of designing hope, with ironic comments on simplistic promises and with promising eccentric hacks into our everyday life.

Artists:

Adam Harvey, Alacoque Ntome, Amelia Marzec, Amelie Hinrichsen, Awuor Onyango, Benedikt Gross, Benjamin Van Bebber, Burak Arikan, César Escudero Andaluz, Eden Mitsenmacher, Else Tunemyr, Felix Kosok, Florian Egermann, Golan Levin, Heath Bunting, Jared Onyango, Jeremy Bailey, Joey Lee, Kathia Von Roth, Lab[au], Lauren Mccarthy, Leo Hofmann, Lilian Nejatpour, Martín Nadal, Marshmallow Laser Feast, Melisa Allela, Mika Satomi And Hannah Perner-wilson (kobakant), Milad Forouzandeh, Mohsen Hazrati, Neue Dringlichkeit, Onformative, Pinar Yoldas, Shawn Sims, Simon Weckert, Tega Brain.

More information on Node Forum 2017
https://17.nodeforum.org

MyPocket (2008) is exhibited in the The New Observatory show at FACT in Liverpool from 22 June to 1 October 2017.

The New Observatory
22 June 2017 – 1 October 2017

The New Observatory transforms our galleries into an observatory for the 21st century. In collaboration with the Open Data Institute, the exhibition brings together an international group of artists whose work explores new and alternative modes of measuring, predicting, and sensing the world today through data, imagination and other observational methods.

Curated by Hannah Redler Hawes and Sam Skinner.

James Coupe (UK/US)
Citizen Sense (UK)
Interaction Research Studio (UK)
Rachel Jacobs (UK)
Jeronimo Voss (DE), in collaboration with Radamés Ajna (BR)
Yu-Chen Wang (TW/UK)
Evan Roth (US/FR)
David Gauthier (CA/NL)
Wafaa Bilal (IRQ/US)
Proboscis (UK)
Liz Orton (UK)
Natasha Caruana (UK)
Jackie Karuti (KE)
Jeronimo Voss (DE)
Stanza (UK)
Phil Coy (UK)
Kei Kreutler (US/GE) and Libre Space Foundation (GR)
Burak Arikan (US/TR)

http://www.fact.co.uk/projects/the-new-observatory.aspx

The plenary is moderated by Sasha Costanza-Chock, and with speakers Sadie Barnette, Micha Cárdenas, and Frances Lee.

The “Civic Data Solidarity” article will be published soon, below are two moments from the presentation.

Playing Hide and Law
A Visual Unraveling of the Latent Power of Law
March 11 – May 13, 2017
tranzit/sk, Beskydská 12, Bratislava

Participating artists:
Lawrence Abu Hamdan
Burak Arikan
Ariella Azoulay
Dalibor Bača
Tali Keren
Alona Rodeh
Carey Young

Curator: Avi Feldman

Playing Hide and Law seeks to expose the latent power of the law. Through the perception of contemporary artists, it searches for and attempts to present new images of the law. By doing so, the exhibition tackles one of the most important characterizations of the law and any legal system, that is, a hidden, undercover system of power and control. Structuring the exhibition on the crux of visibility vs. non-visibility and presence vs. absence, the exhibition is a space in which law can be openly and directly investigated. It suggests an active role for the viewer through which one becomes aware of both the legal and artistic tactics and mechanisms of disguise and transparency, and points to the crucial condition in which the borders between politics, law, economics and society are continuously blurred. In this digital and globalized era in which we live, the exhibition suggests that it is increasingly vital to examine the consequences and effects it holds on our power to comprehend how law determines every aspect of our lives.

In these days of the massive sharing of images and sounds through a growing number of social and media platforms, basic human rights such as freedom of speech and freedom of movement are being put to the test. In the aftermath of Brexit and the US elections and the global war declared by the Trump administration on women and minorities, the exhibition can be perceived as a modest contribution to the re-formulation of political art which demands an engagement between law and art. Now, perhaps more than ever, there is a need to link law and art in order to spur new theoretical and practical measures redefining both spheres in the struggle for justice.

This sense of visual activism is expressed in a variety of artistic mediums and interventions: Lawrence Abu Hamdan questions the role of sound and speech in the court room; Ariella Azoulay calls for a reassessment of the Declaration of Human Rights as a never ending process in the creation of rights in the context of an art exhibition; Tali Keren tackles the legal ratification of a city urban plan through the act of singing; Alona Rodeh created a newly commissioned sculpture in which the image of Lady Justice is juxtaposed with that of the Jester; Burak Arikan, offers the spectator an active map through which the international relations of the penal system is discovered; On the other hand, Carey Young challenges us to re-examine the way law is written and the way it is read, while Dalibor Bača connects the exhibition to the immediate imagery of Bratislava as challenges us to re-think what we know of our immediate (legal) surroundings, and how we want the re-model society in relation to local and global legal systems.

http://sk.tranzit.org/en/exhibition/0/2017-03-10/playing-hide-and-law

Artist Collector Network (2011-) is on display part of the exhibition The Beauty of Concept at Plato Sanat in Istanbul from January 18th to April 16th, 2017.

The Beauty of Concept
January 18 – April 16, 2017
Plato Sanat, Istanbul

Participating artists:
Burak Arıkan
Elçin Ekinci
Özlem Günyol & Mustafa Kunt
Yasemin Özcan
Sümer Sayın
Tayfun Serttaş
Eda Soylu
Cemre Yeşil

Curator: Marcus Graf
Assistant Curator: Melike Bayık

The Beauty of Concept is the third and last exhibition in a series that investigates various strategies within three major fields of contemporary art in Turkey at Plato Sanat. After The Power of Form reviewed the situation of abstract art and formalism, The Mystery of Figure reflected the state of figurative art. Now, The Beauty of Concept presents different notions and forms of conceptual art and research based art.

For around 100 years, art constantly increased the importance of thought in the artistic process, so that finally in in the 1960’s, conceptual art freed the artist from the obligation of creating objects. Since then, the development of ideas and their minimal representation became one of the primary goals in the art world. Today, after numerous forms of concept based art occurred, research based art became an important approach for analyzing social as well as political issues within the field of conceptualism. Being close to scientific analysis, and using academic-like methods, the artist often resembles a researcher. Still, the outcome of these long-term investigations are always artworks, and therefore differ from traditional intellectualism and on formal knowledge based theses.

In current conceptual art, aesthetic and formal considerations seem to be of importance. Different from the classic conceptual artist of the 1960’s, for whom aesthetic was a term to overcome in order to destroy the formalist and decorative aspects of art, in today’s understanding, form, media, visuality and aesthetic became parts of a rather eclectic and pluralist notion of conceptual art.

The Beauty of Concept gives attention to this tendency and reveals the power, and beauty of artistic conceptualism and artistic research through the presentation of strong artists who are able to balance aesthetic and thought in order to comment on today’s world. The show proves that visuality matters, and aesthetic can be an important part of the conceptual work. Therefore, within this field, beauty as well as aesthetic are not dead, and they can merge with conceptual frameworks and research based strategies. The Beauty of Concept underlines this in an aesthetically appealing and intellectually challenging way.

Interview video: https://youtu.be/CVXi791wYoY
Opening Video: https://youtu.be/ORcQGP_AVFg
Exhibition page: http://platosanat.org.tr/tr-TR/sergiler/26237

Jussi writes:

The exhibition addresses critical mapping as a way to understand data culture. The pieces raise questions about the predictability of ordinary human behavior with MyPocket (2008); revealing insights into the infrastructure of megacities like Istanbul as a network of mosques, republican monuments and shopping malls (Islam, Republic, Neoliberalism, 2012) ; remapping and organising recurring patterns in the official tourism commercials of governments with Monovacation (2012); exploring the growth of networks via visual and kinetic abstraction with Tense Series (2007-2012); and showcasing collective production of network maps from the Graph Commons platform. As the works emphasise, the aim of the Graph Commons is to empower people and projects through using network mapping, and collectively experiment with mapping as an ongoing practice.

Jussi Parikka’s post on the Data Asymmetry exhibition.

View the documentation on the Graph Commons Journal

Also you can listen “The map is the territory“, our post-workshop conversation with Jussi Parikka archived by Voice Republic in Transmediale.

1st session on Sep 29th 15:00-16:30 will be a lecture and discussion on how to map and read network maps.

2nd session on Sep 30th 15:00-16:30 will be hands-on mapping with Arikan. Also, the Graph Commons platform will be used during the workshop for mapping networks. Bring your laptop if you want to try it.

The resulting works will be presented within the documentary exhibition of Moscow Biennale 2015.

An important outcome of the event was the initialization of the rights data protocol, an open data structure scheme that could enable information flow particularly between civic research projects in order to prevent recurring data work and reinforce their impact. It would also decentralize civic research data by moving it between applications and projects. No need to say, such a protocol can only flourish when used by many constituents. More on this later.

View the selected work on the hackathon website.

Becoming a Book: Ibraaz Book Launch
SALT Galata
Saturday Sep 5, 2015 16:00

Ibraaz and the Kamel Lazaar Foundation are pleased to announce the launch of Dissonant Archives: Contemporary Visual Culture and Contested Narratives in the Middle East, the second volume in their Contemporary Visual Culture from the Middle East series.

Edited by Anthony Downey and published by I.B. Tauris, Dissonant Archives is the first book to consider the various ways in which contemporary artists from North Africa and the Middle East are utilizing and disrupting the function of the archive and, in so doing, are simultaneously highlighting a systemic and perhaps irrevocable crisis in institutional and state-ordained archiving across the region.

Dissonant Archives features writing, interviews and original artwork by internationally renowned academics, curators, activists, filmmakers and artists including Emily Jacir, Walid Raad, Jananne Al-Ani, Basel Abbas and Ruanne Abou-Rahme, Mariam Ghani, Zineb Sedira, and Akram Zaatari.

The launch will be preceded by a panel discussion with contributions from Vahap Avşar, Burak Arikan, Meriç Algün Ringborg and Başak Şenova.

For further information on the publication, click here.

The panel discussion will be held in English.

“Bloggers, Hackers, Wikileakers, Whistleblowers, Youtubbers : communautés intentionnelles et réseaux sociaux”
Saturday June 6th, 5pm-7:30pm

With Marie Lechner (journaliste), Burak Arikan (artiste), Brian Holmes (philosophe, critique d’art, activiste), Mathias Jud et Christopher Wachter (artistes), et Nathalie Magnan (média-activiste).

Some words on my talk:

Creative and Critical Use of Complex Networks

By experience, we have the sense that it is the networks where power resides and circulates. Yet, we end up failing as active agents who have the means of criticizing networks that are large and complex. In this presentation, I will discuss this issue through the recent collective mapping project “Networks of Dispossession” and the online platform for collective mapping of networks, Graph Commons.

I will be talking about my recent works and processes as part of the “Something You Should Know” series at EHESS in Paris, Wednesday June 3rd at 19:00.

ÉCOLE DES HAUTES ÉTUDES EN SCIENCES SOCIALES
FONDATION MAISON DES SCIENCES DE L’HOMME

SOMETHING YOU SHOULD KNOW: ARTISTES ET PRODUCTEURS AUJOURD’HUI

Patricia Falguières, Elisabeth Lebovici et Nataša Petrešin-Bachelez

Mercredi 3 juin 2015 à 19h

http://sysk-ehess.tumblr.com

* Image: Artist Collector Network – Network map of collectors and artists based on the relationship of being in an art collection. Installation view from Borusan Contemporary Istanbul, 2011
http://burak-arikan.com/acn/

Artist Collector Network is on view at the ‘Human Economy‘, the new exhibition of Paris HEC’s Contemporary Art Space, from 20 November 2014 to 6 March 2015.

Curator: Paul Ardenne, Associate curator: Barbara Polla

Artists: Burak Arikan | Conrad Bakker | Yann Dumoget | Jean-Baptiste Farkas | Hervé Fischer | Sean Hart | Marc Horowitz | Joel Hubaut | Pierre Huyghe | Ali Kazma | Florent Lamouroux | Tuomo Manninen | Adrian Melis | Deimantas Narkevičius | + Jorge Orta Lucy | Jean Revillard | Camille Roux | Edith Roux | Benjamin Sabatier | Julien Serve | Zoë Sheehan Saldaña | Paul Souviron

This exhibition aims to take stock of the relationships visual artists have today with the world of business and, more broadly, with the economy in this era of globalization. There are two types of approaches: the ‘visual’ input into the world of business, the economy and production, and playing with economic indicators and the world of business. The emphasis here is on creativity, and the gaze of the artists invited for this exhibition tends to humanize the workplace and the economy. People become conscious, lucid, and concerned participants.

More info

Slides below are from my talk at Eyeo 2014 with notes and links are included. Download as PDF.

Cartographies of Power
September 11-12, 2014
14:00-19:00
São Paulo Biennial

The distribution of power and knowledge is one of the crucial questions of our contemporary moment, yet many of the interconnections and dependencies within the elite are opaque or invisible to most citizens. Making pictures and diagrams of power structures and access to knowledge might allow us all a clearer view of how decisions are made and whose interests are being promoted when power is exercised inside and outside government. Two artists, Burak Arikan and Erick Beltrán and collaborator Zeyno Ustun have been interested in the representation of power, governance, and history for some years. They have each produced their own different cartographies to map the links between elites and the way power flows through the control of access to information. This 2-day workshop will start by introducing each artists’ projects and then proceed by working together with the group to determine suitable subjects for mapping power, governance, and history in Brazil. The intention is that at the end of the workshop participants will have an understanding of the tools needed to map their own interests or to work collectively on a Brazilian cartography.

We will be using the Graph Commons platform for network mapping exercises.
http://graphcommons.com

See the Workshop Archive
http://teaching.burak-arikan.com/creative-networking

More info on the Cartographies of Power
http://www.bienal.org.br/post.php?i=1102

http://netgovmap.org

Mapping Internet Governance

Already a pressing global issue, internet governance debates are taking place across a range of different fora often referred to as an ecosystem. With the revelations of mass government surveillance, the frequency, intensity, and stakes of internet governance debates have heightened in the last year and this trend promises to continue. At the core of such debates is the future of fundamental rights, such as freedom of expression, privacy, access to knowledge, and access to affordable internet, but also how to decision-making process can become more open, transparent, participatory, accountable, and democratic.

Mapping Internet Governance, a collective data compiling and mapping project, traces the relations between the internet governance events, processes, and organizing institutions. The map covers the past 2 years with an effort to better focus civil society advocacy by understanding where main discussions about global internet governance are taking place.

This mapping is a work in progress. It is meant to be a living document, reflecting developments in the dynamic internet governance space, including evolving relationships between institutions and processes. We are seeking input for additional information to keep the mapping up-to-date and reflect the current state of play.

Please send your input to: collab@netgovmap.org

Mapping Internet Governance is initiated by Joana Varon, Deborah Brown, Lea Kaspar, Burak Arikan. Mapping is powered by the Graph Commons platform.

Critical Network Mapping

Wednesday / 11:35 — 12:20 / McGuire Theater

By experience, we do have the sense that it is networks where power resides and circulates. Yet, we end up failing as active agents, who, hands on, have the means of criticizing complex networks. Arikan’s talk will discuss this issue through his recent work, starting from MyPocket (2008) raising questions on the predictability of everyday living; discussing the invisible power dynamics within the contemporary art ecosystem with Artist Collector Network (2011-); traversing the visual language of official tourism commercials with Monovacation (2013); finally narrating a selection of network maps collectively created on Graph Commons, platform for collaborative network mapping and a knowledge base of relationships that Arikan has been maintaining since 2011.

Panel: What a Difference a Year Makes: Data, Art & Ethics in a Post-Snowden World – Ashkan Soltani, Burak Arikan, Jer Thorp, Kate Crawford, Sarah Williams

Wednesday / 4:00 — 4:45 / Cinema

On June 5th, 2013, The Guardian announced the leak of thousands of classified documents by NSA contractor Edward Snowden. These revelations (and others) have sparked a global conversation about data, privacy & ethical responsibility. Join a group of artists, theorists, researchers and practitioners for a discussion on what has changed, and how the Eyeo community can learn from and contribute to the ongoing dialogue.

Eyeo program
http://eyeofestival.com/theprogram

#eyeo2014
https://twitter.com/hashtag/eyeo2014?src=hash

I will be doing a 3 hour Network Mapping and Analysis Workshop at ITP CAMP 2014. Please RSVP if you’d like to participate in the workshop.

Thursday, June 5
6pm-9pm

RSVP here:
http://itp.nyu.edu/camp2014/session/14

This is a 3 hour workshop focusing on the design and understanding of complex networks through mapping and visual analysis in order to expand the individual’s thinking about the network as a creative medium. Starting from hand drawn simple graph diagrams, participants gradually build complex network models. Emphasis on network mapping, modeling, relational thinking, protocol authoring, centrality analysis, clustering analysis, and information design. Participants learn the most through observing and extracting networks from their area of interests, collaborative mapping, sketching, and discussing diagrams.

1hr – How to map networks? Introduction lecture, theory and discussion.
1hr – Mapping: Hands on drawing and using Graph Commons.
1hr – How to analyze networks? Presentations and analysis.

Graph Commons is used at the workshops for collaborative / group mapping, so bring your laptops!
http://graphcommons.com

More information & Workshop Archive
http://teaching.burak-arikan.com/creative-networking

* Photograph from the Creative Networking Workshop at Jeff Projects Istanbul, Aug 8th, 2013.

Requirements:

All actors of the election should be able to have a Bitcoin account.
All actors of the election should be able to secure their voting computer.

Actors:

Election Authority
Candidate
Voter

Terminology:

Block Chain: Bitcoin public transaction list
0.00000001 Bitcoin: the smallest unit of Bitcoin possible
BTC: Abbreviation for Bitcoin currency

Schema:

0. Election Authority declaration
Election Authority publicly announces its Bitcoin address.

1. Voter registration
Voters show a valid ID and provide their Bitcoin address to Election Authority, who sends them 0.00000001 BTC in return. All voter Bitcoin addresses are publicly listed in the Blockchain. To carry out citizens’ right to vote anonymously, the Election Authority keeps the IDs to prevent double registration but does not keep a record of association between the IDs and the provided Bitcoin addresses.

2. Candidate registration
Candidates provide a valid ID and their Bitcoin address to Election Authority, who sends them 0.00000002 BTC in return. All candidate Bitcoin addresses are publicly listed in the Blockchain. As opposed to voter registration, Election Authority keeps and publicly announces a record of association between each candidate ID and their provided Bitcoin address. Candidates are obliged to announce their Bitcoin addresses.

3. Starting the election
Election starts when Election Authority sends 0.00000001 BTC to all the voters’ Bitcoin addresses publicly listed in the BLockchain.

4. Voting
Voters send 0.00000001 BTC to their preferred candidate’s Bitcoin addresses publicly listed in the Blockchain.

5. Ending the election
Election ends when all voting transactions are processed for each candidate in the Blockchain. A time limit can be also put in place.

6. Election result
Election result is obtained by counting all valid voting transactions from the registered voting addresses to the registered candidate addresses in the Blockchain. Any other transaction after the first 0.00000001 Bitcoin transaction from the voter to the candidate is considered disqualified. The whole process from the registrations to the voting and counting the results is open to audition by anyone.

Contribution

This basic schema can be applied today with the existing Bitcoin infrastructure. One can develop applications and interfaces for better user experience of this system. To contribute and improve the schema please send your comments and questions to the comments section of this page, or feel free to fork the repository and send pull requests.

https://github.com/arikan/bitcoin-voting

License

The MIT License (MIT)

Monovacation
2013. Custom software, interactive map on 47” touchscreen, video on 42” LCD screen, projection

Monovacation cordially invites you to “the vacation” of vacations… The official tourism commercials of countries in competition with each other have been selected and each film has been divided into the possible tiniest clips. The clips, 3-4 sec long by nature have been coded with tags. Through a network diagram which run as a software simulation, these tags are connected to each other via shared clips have found their positions on the map. Then, a new sequence have been generated through a traversal in the network map, jumping from one node to the closest, following the path of the most central tags. Shores from Egypt to Portugal, woman from Israel to India, mythological figures from Thailand to Turkey here comes an extracted fantasy of “vacation”… Text continues below

Three part installation:

Projection (3 min loop) – Official tourism commercials of countries which are competitors of each other, used as data and presented in grid form (excerpt below)

Digital Print – Network map of tags connected by shared clips, generated by the content analysis of the tourism commercials, where the blue color represents the traversal path used for editing the new film.

Video (6 min loop) – Generic film algorithmically reedited by a traversal on the network map (excerpt below).

Monovacation


Zeynep Gökay Üstün

Monovacation cordially invites you to “the vacation” of vacations… The official tourism commercials of countries in competition with each other have been selected and each film has been divided into the possible tiniest clips. The clips, 3-4 sec long by nature have been coded with tags. Through a network diagram, which run as a software simulation, these tags are connected to each other via shared clips and have found their positions on the map. Then, a new sequence have been generated through a traversal in the network map, jumping from one node to the closest, following the path of the most central tags. Shores from Egypt to Portugal, hospitality from Australia to Ukraine, nature from Spain to New Zealand, woman from Israel to India, mythological figures from Thailand to Turkey here comes an extracted fantasy of “vacation”…

Tourism is a vicious sphere of competition in the world economy. This situation forces the countries possessing touristic values to act like corporations. The 2012-2013 Tourism Report of the World Economic Forum evaluates and ranks 144 countries and assumes a position within the global context. The countries in competition take the pulse of each other and use every trick in the book to impress the visitors; huge investments, airport constructions, chain hotels, loyalty programs, business world, and many other attractions as such. Turkey, in this context is one of the countries that attract tourists. Among its competitors there are countries such as France, Spain, Italy, Cyprus, Greece, Malta, Egypt, Portugal, Yugoslavia, Morocco, Thailand, China, UAE, Taiwan and India. 144 countries trying to captivate the tourists and ruthless competition… Monovacation uses 20 official tourism TV commercials randomly selected out of these 144 countries as its material.

The image appears in the commercial videos of the countries with tourism value. Each film hails another subjectivity, from place to place employs the same imagery and from time to time idiosyncratic elements. The representative images in visuals do not only show the countries assets also builds an ideal understanding of vacation for the subjects. While they are defining a subjective position for the tourist, they also point to all sorts of “should’s” from how and with whom we should have fun, how we should rest, to which view or historical structure we should admire. While the efforts to shape the vacation through the subjectivity of the tourist render these movies almost the same, the trademark geographical and cultural values seem to be wrapped up and marketed. The countries are being stripped off all other qualities and are being brought to a common ground. These commercials, which usually last one to three minutes summarize the countries real quick and try to catch attention and on the other hand give a promise to satisfy all the vacation needs of the tourist, so they collaboratively construct a fantasy of vacation.

Splitting these commercial films into the tiniest pieces and having another gaze at each separated clip channels us into a much convenient path than breaking the routine, instead it reinforces the routine and make it much apparent. Thus, positioning the tags post-coded and attached to each clip in a network map enables one to read this construct of vacation. Yet above all, such a map allows one to discover the most central concepts and representations and to invent a generic vacation commercial. A fantasy which overrules other fantasies of travelling, a fantasy where the steps of discovering a new place are predetermined and a fantasy where the patterns are being reproduced… Monovacation, this construct that we know is generic, forms an extracted fantasy of travelling not to the countries but to the travel itself.

In this context Monovacation is a work composed of three pieces: (1) Official tourism commercials of Turkey and its competitors on a grid, (2) Network map of representation similarity generated by the content analysis of the tourism commercials, (3) Generic film reedited with network analysis.

This work was prepared for the purpose of VitrA Contemporary Architecture Series: Please Do Not Disturb exhibition realized in 2013.

Artist Collector Network is on view at the Critical Machines exhibition at American University of Beirut Art Gallery from March 6 to July 26th.

Critical Machines
6 March–26 July
AUB Byblos Bank Art Gallery

Artists in the Exhibition
Art & Language, Burak Arikan, Freee art collective, Janah Hilwé, Khalil Rabah, Vadim Zakharov

A Bookshelf with critical machines by:
André Breton, Critical Art Ensemble, Marcel Duchamp, Andrea Fraser, Heresies Collective, William Hogarth, György Galántai and Júlia Klaniczay (Artpool), Kenneth Goldsmith, Hans Haacke & Pierre Bourdieu, Pablo Helguera, Garnet Hertz, Wassily Kandinsky, Allan Kaprow, Hassan Khan, Andrei Monastyrsky, William Morris, Walid Raad, Ad Reinhardt, Temporary Services, Gregory Sholette, Nasrin Tabatabai and Babak Afrassiabi and others

Curator: Octavian Esanu

Critical Machines: Art Periodicals Today Conference
March 7–8, 10am–5:30pm
Faculty Lounge, Ada Dodge Hall
American University of Beirut

Participating art periodicals and editors: Al Akhbar newspaper, Culture & Society section—Roy Dib (Beirut, Lebanon); Arteria e-journal—Vardan Azatyan (Yerevan, Armenia); ArtTerritories online publishing platform—Shuruq Harb (Palestine); Art and the Public Sphere journal—Mel Jordan (London); ArtLeaks Gazette—Corina Apostol (Bucharest, Romania); ARTMargins journal—Sven Spieker (Los Angeles), Octavian Esanu, Angela Harutyunyan (Beirut, Lebanon); Bidoun magazine—Negar Azimi (New York); Cabinet magazine—D. Graham Burnett (New York); Chto Delat’ newspaper—Dmitry Vilensky (St. Petersburg, Russia); e-flux journal—Anton Vidokle (New York/Beirut, Lebanon); Gahnama-e-Hunar magazine—Rahraw Omarzad (Kabul, Afghanistan); Ibraaz online platform – Anthony Downey (London); Mada Masr online newspaper and platform, Art & Culture section—Lina Attalah (Cairo, Egypt); October journal—David Joselit (New York City); Red Thread e-journal—Erden Kosova (Istanbul, Turkey); Umělec magazine—Ivan Mečl and Palo Fabuš (London and Prague)

Graph Commons Workshop will be held at the 5th Marrakech Biennale, Morocco on Friday 28th February 9:00 – 13:30, in Marrakech (exact location to be confirmed).

The workshop will explore complex networks through mapping and visual analysis in order to expand the individual’s understanding of the network as a creative medium. Starting from hand drawn simple relationship diagrams, participants gradually build complex network models. Emphasis on network mapping, modeling, relational thinking, protocol authoring, centrality analysis, clustering analysis, and information design. Participants learn the most through observing and extracting networks from their area of interests, collaborative mapping, sketching, and discussing diagrams.

Graph Commons is used at the workshops for visualization, group collaboration, and sharing. So please bring your laptop to the workshop.
http://graphcommons.com

For more information, see the workshop archive:
http://www.teaching.burak-arikan.com/creative-networking

If you are interested in participating please RSVP contact Maia Holtermann Entwistle:
maia.holtermann@marrakechbiennale.org

Monovacation
2013. Custom software, projection, digital print (180×120 cm), video on 42” LCD screen

Monovacation cordially invites you to “the vacation” of vacations… The official tourism commercials of countries in competition with each other have been selected and each film has been divided into the possible tiniest clips. The clips, 3-4 sec long by nature have been coded with tags. Through a network diagram which run as a software simulation, these tags are connected to each other via shared clips have found their positions on the map. Then, a new sequence have been generated through a traversal in the network map, jumping from one node to the closest, following the path of the most central tags. Shores from Egypt to Portugal, woman from Israel to India, mythological figures from Thailand to Turkey here comes an extracted fantasy of “vacation”… Text continues below

Three part installation:

Projection (3 min loop) – Official tourism commercials of countries which are competitors of each other, used as data and presented in grid form (excerpt below)

Digital Print – Network map of tags connected by shared clips, generated by the content analysis of the tourism commercials, where the blue color represents the traversal path used for editing the new film.

Video (6 min loop) – Generic film algorithmically reedited by a traversal on the network map (excerpt below).

Monovacation


Zeynep Gökay Üstün

Monovacation cordially invites you to “the vacation” of vacations… The official tourism commercials of countries in competition with each other have been selected and each film has been divided into the possible tiniest clips. The clips, 3-4 sec long by nature have been coded with tags. Through a network diagram, which run as a software simulation, these tags are connected to each other via shared clips and have found their positions on the map. Then, a new sequence have been generated through a traversal in the network map, jumping from one node to the closest, following the path of the most central tags. Shores from Egypt to Portugal, hospitality from Australia to Ukraine, nature from Spain to New Zealand, woman from Israel to India, mythological figures from Thailand to Turkey here comes an extracted fantasy of “vacation”…

Tourism is a vicious sphere of competition in the world economy. This situation forces the countries possessing touristic values to act like corporations. The 2012-2013 Tourism Report of the World Economic Forum evaluates and ranks 144 countries and assumes a position within the global context. The countries in competition take the pulse of each other and use every trick in the book to impress the visitors; huge investments, airport constructions, chain hotels, loyalty programs, business world, and many other attractions as such. Turkey, in this context is one of the countries that attract tourists. Among its competitors there are countries such as France, Spain, Italy, Cyprus, Greece, Malta, Egypt, Portugal, Yugoslavia, Morocco, Thailand, China, UAE, Taiwan and India. 144 countries trying to captivate the tourists and ruthless competition… Monovacation uses 20 official tourism TV commercials randomly selected out of these 144 countries as its material.

The image appears in the commercial videos of the countries with tourism value. Each film hails another subjectivity, from place to place employs the same imagery and from time to time idiosyncratic elements. The representative images in visuals do not only show the countries assets also builds an ideal understanding of vacation for the subjects. While they are defining a subjective position for the tourist, they also point to all sorts of “should’s” from how and with whom we should have fun, how we should rest, to which view or historical structure we should admire. While the efforts to shape the vacation through the subjectivity of the tourist render these movies almost the same, the trademark geographical and cultural values seem to be wrapped up and marketed. The countries are being stripped off all other qualities and are being brought to a common ground. These commercials, which usually last one to three minutes summarize the countries real quick and try to catch attention and on the other hand give a promise to satisfy all the vacation needs of the tourist, so they collaboratively construct a fantasy of vacation.

Splitting these commercial films into the tiniest pieces and having another gaze at each separated clip channels us into a much convenient path than breaking the routine, instead it reinforces the routine and make it much apparent. Thus, positioning the tags post-coded and attached to each clip in a network map enables one to read this construct of vacation. Yet above all, such a map allows one to discover the most central concepts and representations and to invent a generic vacation commercial. A fantasy which overrules other fantasies of travelling, a fantasy where the steps of discovering a new place are predetermined and a fantasy where the patterns are being reproduced… Monovacation, this construct that we know is generic, forms an extracted fantasy of travelling not to the countries but to the travel itself.

In this context Monovacation is a work composed of three pieces: (1) Official tourism commercials of Turkey and its competitors on a grid, (2) Network map of representation similarity generated by the content analysis of the tourism commercials, (3) Generic film reedited with network analysis.

This work was prepared for the purpose of VitrA Contemporary Architecture Series: Please Do Not Disturb exhibition realized in 2013.

Penal Systems Network, a network map of world’s penal systems that evoke controversy is at Henie-Onstad Kunstsenter “We are living on a star” exhibition, January 30th–April 27th, 2014.

The Hannah Ryggen tapestry We are living on a star is the leitmotif for the exhibition. The tapestry hung in the government building in Oslo was bombed July 22, 2011. This exhibition intends to investigate the wound after July 22, with the concept of normality as its point of departure.

Artists:
Burak Arikan, Doug Ashford, Julian Blaue, Martin Braathen med Marius Engh, Even Smith Wergeland og Superunion Architects, Marthe Ramm Fortun, Hanne Friis, Else Marie Hagen, Silje Linge Haaland, Per-Oskar Leu, Lotte Konow Lund, Jumana Manna, Eline McGeorge, Eva Rothschild, Hannah Ryggen, Ahlam Shibli and Javier Téllez.

Curators:
Tone Hansen and Marit Paasche

Penal Systems Network is a relational mapping of world’s penal systems that evoke controversy: A network map of world countries connected to juridical topics whether or not they are being exercised and how they are being exercised such as life imprisonment, parole, indefinite sentence, and amnesty. This network map provides a comparison of penalties at scale between countries and legal systems. The network map is a self-organizing software system, where the layout is organized based on the connections, showing both similarities and differences between countries, central penalties, and peripheral penalties.

Research by Zeyno Ustun

Research in collaboration with Zeyno Üstün.

Commissioned and exhibited at Henie-Onstad Kunstsenter in Oslo for “We Are Living On a Star,” January 30–April 27, 2014.

24 Aralık Salı, 2013
13:00
Mimarlık Ve Tasarım Kulübü Konferansı
E3 303 Yüksek Lisans Atölyesi
İstanbul Bilgi Üniversitesi

Karmaşık Ağların Yaratıcı Kullanımı

Son yaptığım işlerin üzerinden giderek ağ haritalaması neden bugün önemli ve kendi işlerinizde nasıl kullanabilirsiniz tartışacağız. Konuşmada MyPocket (2008), Yüksek Öğrenim Endüstriyel Kompleksi (2013), Mülksüzleştirme Ağları (2013) ve Graph Commons kolektif “ağ haritalama” platformu sunulacak ve tartışılacak.

Daha fazla bilgi:
http://burak-arikan.com/mypocket
http://burak-arikan.com/ozeluniversiteler
http://mulksuzlestirme.org
http://graphcommons.com

Tomorrow I am conducting a full day Creative Networking / Data viz Workshop at the Center for Transformative Media Parsons, NYC, Tue Nov 19th.

CTM Guest Workshop: Creative Networking / Data Viz
The Center for Transformative Media
Tuesday, November 19, 2013
Full day workshop: 10.30 AM – 1.30 PM, and 2.30- 6.30 PM (EST)
morning session in ‘The Bark Room’ at 2 West 13th Street, NY
afternoon session in ‘The T. Lang conference room’ at 55 West 13th Street, NY
New York, NY

One day workshop focusing on the design and understanding of complex networks through mapping and visual analysis in order to expand the individual’s thinking about the network as a creative medium. Starting from hand drawn simple graph diagrams, participants gradually build complex network models. Emphasis on network mapping, modeling, relational thinking, protocol authoring, centrality analysis, clustering analysis, and information design. Participants learn the most through observing and extracting networks from their area of interests, collaborative mapping, sketching, and discussing diagrams.

Graph Commons is used at the workshops for visualization, group collaboration, and further sharing, so bring your laptops!
http://graphcommons.com

This event will be open to Parsons and New School students and faculty. As space is limited to 24 participants, registration on Eventbrite is necessary (sorry if it is full, please follow @graphcommons for future workshop announcements).

For more on previous workshops run at international events since 2007, please visit the Workshop Archive:
http://teaching.burak-arikan.com/creative-networking

About CTM
http://ctm.parsons.edu

Analyzing the relations between the board of trustees, which are the power holders within the universities, with other institutions and corporations; compiling a database of such information; and generating a network map of these relations, in which one can navigate from one node to the other would provide us a tool in order to understand the ecosystem of higher education in political and social terms. The network map of 68 private universities, including Koc University, their board of trustees, and the companies and institutions that they share, aims to reveal the ecosystem, the central and peripheral actors, their indirect connections, and clusters of industrial complex of higher education.

The work is an installation of an interactive network map on a 47” touch screen display running on a custom software and a 260 x 125 cm digital print map. Maps are being exhibited in Koç University and accessible on http://burak-arikan.com/ozeluniversiteler.

Research & Conceptual Text Zeyno Üstün

Networks of Dispossession project is created by a collective of volunteers in phases and it is open to contributions. The Networks of Dispossession database is updated periodically and currently contains in total 606 Company, Financing Organization, 51 Government Institution, 38 Media Firm, and 500 Project.

Developed by anonymous participants using the Graph Commons platform.

View the interactive maps and get more information at
mulksuzlestirme.org

Three part installation:

Projection (3 min loop) – Official tourism commercials of countries which are competitors of each other, used as data and presented in grid form.

Digital Print – Network map of tags connected by shared clips, generated by the content analysis of the tourism commercials, where the blue color represents the traversal path used for editing the new film.

Video (6 min loop) – New film reedited by the algorithm that traverses the paths on the network map.

Read more from the article by Zeyno Ustun

Exhibitions:

Data Asymmetry, The Winchester Gallery, 2016

LABoral Gijon, 2014

5th Marrakech Biennial, 2014

Museum of Contemporary Art Tokyo, 2013

11th Sharjah Biennial, 2013

TSMD Architecture Center Ankara, 2013

Istanbul Modern Museum, 2013

“Almost everybody who lives in Dubai also lives somewhere else” says Rem Koolhaas in the second Al Manakh, a study of the Gulf region. The expatriates in UAE experience different geographies, weathers, languages and above all different social worlds in their home and host town.Yet, however different the cities they live in, they share common ground especially in respect to the globally dominant economic policies and the market logic. In other words, UAE is composed of subjects exposed to diverse neoliberal fantasies rendering the emirates one of the few regions where one find such relational bridges between different neoliberalisms.

Neoliberalism(s) is a software-questionnaire-mapping system aims to capture the relationships between expatriates’ subjective encounters with neoliberalism in UAE and in their hometown. It utilizes the commonly used survey interaction method, but through a new satire interface that is available both online and onsite. The online questionnaire application has taken a snowball route and propagated on participants’ social relationships virally, targeting an audience whose profile is identified via social media, Facebook, Twitter etc. The questionnaire is available in the exhibition through a touchscreen application. Both online and onsite responses to the questions are gathered in real-time on a central database which drives the network map. Questions demand both factual and imaginary reactions by design. The generated data is analyzed and mapped into network diagrams, which show similarities and differences of aspects of particular neoliberalisms of the world.

Print: Subjective network map of countries and neoliberal concepts generated by the artist himself through taking the survey for all the countries.

Touch-screen: Questionnaire and collective map, generated in real-time by the participants’ responses online and onsite.

Higher Education Industrial Complex is a new work on the 68 private universities and their boards of trustees connected to a network of corporations and institutions in Turkey. The works is on show at the Koç University Campus in Istanbul, as part of the Scientific Inquiries exhibition. Curated by Basak Senova, research by Zeyno Ustun. The maps are also accessible on http://burak-arikan.com/ozeluniversiteler.

Private universities and their boards of trustees connected to a network of corporations and institutions make the higher education industrial complex of Turkey. The network map contains 68 private universities (red), 625 member of the board of trustees (black), 970 organizations (blue colored corporations, foundations, associations, political parties, state universities), and 2001 relationships researched between organizations and people.

Analyzing the relations between the board of trustees, which are the power holders within the universities, with other institutions and corporations; compiling a database of such information; and generating a network map of these relations, in which one can navigate from one node to the other would provide us a tool in order to understand the ecosystem of higher education in political and social terms. The network map of 68 private universities, including Koç University, their board of trustees, and the companies and institutions that they share, aims to reveal the ecosystem, the central and peripheral actors, their indirect connections, and clusters of industrial complex of higher education.

The work is an installation of an interactive network map on a 47” touch screen display running on a custom software and a 260 x 125 cm digital print map. Maps are being exhibited in the Koç University campus and accessible on http://burak-arikan.com/ozeluniversiteler

* Images are excerpts from the map showing TUSIAD and MUSIAD their surrounding network.

We are going to present the Networks of Dispossession project and the Graph Commons platform at GEZI NYC Forums #11 hosted in the The New School.

Networks of Dispossession // Mülksüzleştirme Ağları
Burak Arikan and Zeyno Üstun
November 12th, 8PM
The New School, 66 West 12th, Room 510, New York, NY

Arikan and Ustun will present the Network of Dispossession project, a collective data compiling and mapping project on urban transformation in Turkey with respect to corporations, capital and power. Arikan and Ustun will analyze the maps by providing a new narrative structure and discussing the outcome in relation to Gezi protests. They will elaborate on the next steps of their ongoing project. Graph Commons collaborative ‘network mapping’ platform will also be presented as the infrastructure for their research.
For more information: http://mulksuzlestirme.org and http://graphcommons.org

Burak Arıkan is a New York and Istanbul based artist working with complex networks. He takes the obvious social, economical, and political issues as input and runs through abstract machinery, which generates network maps and algorithmic interfaces, results in performances, and procreates predictions to render inherent power relationships visible and discussable. Arıkan’s software, prints, installations, and performances have been featured in numerous institutions internationally; most recent appearances include: 13th Istanbul Biennial (2013), Home Works 6, Beirut (2013), 11th Sharjah Biennial (2013), 7th Berlin Biennale (2012), Nam June Paik Award Exhibition, Kunstmuseum Bochum (2012), Truth is Concrete, Graz (2012). Arikan is the founder of Graph Commons platform, dedicated to providing “network intelligence” for everyone.

Zeyno Ustun is a freelance researcher and a graduate student in the department of Sociology at New School for Social Research. She received her MA in Sociology from Boğaziçi University, where she wrote a thesis titled Desire of the Impossible; A Cultural Reading of Fantastic Cinema in which she studied contemporary fantastic cinema in order to investigate a new kind of vulnerability of the subjects in the late 20th century. During her MA studies, she worked as a research assistant and co-taught the course Social Research Methods at Bogazici University. She also coordinated a project titled A Comprehensive View of the Competitiveness of Istanbul Hotels affiliated with Boğaziçi University Scientific Research Fund and the Department of Tourism Administration.

Ankara’da TSMD Mimarlık Merkezi‘ndeyiz, 4 Kasım Pazartesi akşamı saat 19.00’da açılışa bekleriz.

“Please do not disturb”
VitrA Contemporary Architecture Series Presents

TSMD Mimarlık Merkezi, 5 Nov – 30 Nov 2013

Curator: Ertuğ Uçar
Coordinator: Pelin Derviş
Artists: Burak Arıkan, Kerem Ozan Bayraktar, Nermin Er, Meriç Kara, Metehan Özcan

Mono-vacation

Mono-vacation cordially invites you to “the vacation” of vacations… The official tourism commercials of countries in competition with each other have been selected and each film has been divided into the possible tiniest clips. The clips, 3-4 sec long by nature have been coded with tags. Through a network diagram which run as a software simulation, these tags are connected to each other via shared clips have found their positions on the map. Then, a new sequence have been generated through a traversal in the network map, jumping from one node to the closest, following the path of the most central tags. Shores from Egypt to Portugal, woman from Israel to India, mythological figures from Thailand to Turkey here comes an extracted fantasy of “vacation”… text continues below

Three part installation:

Projection: Official tourism commercials of countries which are competitors of each other (excerpt)

Digital Print: Network map of representation similarity generated by the content analysis of the tourism commercials (blue nodes represents the traversal paths used for editing the new film)

Video: Generic film reedited with network analysis. (excerpt)

Monovacation


Zeynep Gökay Üstün

Monovacation cordially invites you to “the vacation” of vacations… The official tourism commercials of countries in competition with each other have been selected and each film has been divided into the possible tiniest clips. The clips, 3-4 sec long by nature have been coded with tags. Through a network diagram, which run as a software simulation, these tags are connected to each other via shared clips and have found their positions on the map. Then, a new sequence have been generated through a traversal in the network map, jumping from one node to the closest, following the path of the most central tags. Shores from Egypt to Portugal, hospitality from Australia to Ukraine, nature from Spain to New Zealand, woman from Israel to India, mythological figures from Thailand to Turkey here comes an extracted fantasy of “vacation”…

Tourism is a vicious sphere of competition in the world economy. This situation forces the countries possessing touristic values to act like corporations. The 2012-2013 Tourism Report of the World Economic Forum evaluates and ranks 144 countries and assumes a position within the global context. The countries in competition take the pulse of each other and use every trick in the book to impress the visitors; huge investments, airport constructions, chain hotels, loyalty programs, business world, and many other attractions as such. Turkey, in this context is one of the countries that attract tourists. Among its competitors there are countries such as France, Spain, Italy, Cyprus, Greece, Malta, Egypt, Portugal, Yugoslavia, Morocco, Thailand, China, UAE, Taiwan and India. 144 countries trying to captivate the tourists and ruthless competition… Monovacation uses 20 official tourism TV commercials randomly selected out of these 144 countries as its material.

The image appears in the commercial videos of the countries with tourism value. Each film hails another subjectivity, from place to place employs the same imagery and from time to time idiosyncratic elements. The representative images in visuals do not only show the countries assets also builds an ideal understanding of vacation for the subjects. While they are defining a subjective position for the tourist, they also point to all sorts of “should’s” from how and with whom we should have fun, how we should rest, to which view or historical structure we should admire. While the efforts to shape the vacation through the subjectivity of the tourist render these movies almost the same, the trademark geographical and cultural values seem to be wrapped up and marketed. The countries are being stripped off all other qualities and are being brought to a common ground. These commercials, which usually last one to three minutes summarize the countries real quick and try to catch attention and on the other hand give a promise to satisfy all the vacation needs of the tourist, so they collaboratively construct a fantasy of vacation.

Splitting these commercial films into the tiniest pieces and having another gaze at each separated clip channels us into a much convenient path than breaking the routine, instead it reinforces the routine and make it much apparent. Thus, positioning the tags post-coded and attached to each clip in a network map enables one to read this construct of vacation. Yet above all, such a map allows one to discover the most central concepts and representations and to invent a generic vacation commercial. A fantasy which overrules other fantasies of traveling, a fantasy where the steps of discovering a new place are predetermined and a fantasy where the patterns are being reproduced… Monovacation, this construct that we know is generic, forms an extracted fantasy of traveling not to the countries but to the travel itself.

In this context Monovacation is a work composed of three pieces: (1) Official tourism commercials of Turkey and its competitors on a grid, (2) Network map of representation similarity generated by the content analysis of the tourism commercials, (3) Generic film reedited with network analysis.

Creative Use of Complex Networks

Dr. Fikret Yücel Konferans Salonu,
Bilkent Cyberpark, B Blok 1.Kat – Bilkent

Monday, 3 November 2013
10:00 – 12:00 Talk
14:00 – 17:00 Workshop
Contact: info@ttgv.org.tr
Eventbrite Page

In the talk, I will walk through my recent work and make an introduction to network mapping and analysis, discussing why it is relevant now, and how to approach it in your own work for innovation.

Network Mapping Workshop

Half day workshop focusing on the design and understanding of complex networks through mapping and visual analysis in order to expand the individual’s thinking about the network as a creative medium. Starting from hand drawn simple graph diagrams, participants gradually build complex network models. Emphasis on network mapping, modeling, relational thinking, protocol authoring, centrality analysis, clustering analysis, and information design. Participants learn the most through observing and extracting networks from their area of interests, collaborative mapping, sketching, and discussing diagrams.

Graph Commons is used at the workshops for visualization, group collaboration, and further sharing.
http://graphcommons.com

Network Mapping Workshops Archive
http://teaching.burak-arikan.com/creative-networking

First exhibited at ARTER’s “Second Exhibition” in Istanbul, Network of Foundations and Corporations Through Shared Board Members: Turkey Edition (2010) is now on show at Art & Textiles – Fabric as Material and Concept in Modern Art from Klimt to the Present exhibition in Kunstmuseum Wolfsburg, Germany.

Art & Textiles
Kunstmuseum Wolfsburg
12.10.2013 – 02.03.2014

Network of Foundations and Corporations Through Shared Board Members: Turkey Edition (2010)
Digital print as 5m x 7m mural, custom software.

The network map contains the tax-exempt foundations in Turkey and the public corporations listed on the Istanbul Stock Exchange. Nodes represent institutions or board members, connections represent board membership. The network database include 350 public corporations, 234 tax-exempt foundations and their 3310 board members in total. The network map organizes itself by running as a software simulation, where the names naturally find their position on the canvas through connecting forces, revealing the central actors, indirect links, organic clusters, structural holes, and outliers. Clusters of institutions on this map shows the super-institutions which have high power concentration in the society.

You can also watch live here https://www.youtube.com/Geziniyoruz

Friday, October 4th, 2013
4:30pm GMT+5
Kellen Auditorium, 66 5th Ave (13th Street)
New York

Critical Network Mapping

I will walk through my recent work, discussing Network Map of Foundations and Corporations in Turkey (2010) and the idea of super-institutionalization; narrating the network maps collectively created on the Graph Commons platform (2011-); and finally presenting the recent collective research and mapping work on neoliberalism in Turkey, Networks of Dispossession, a cartography of government-corporate partnerships in urban transformation.

Monovacation
2013, custom software, projection (300×120 cm), digital print (180×120 cm), video (42 inch LCD screen)

Monovacation cordially invites you to “the vacation” of vacations… The official tourism commercials of countries in competition with each other have been selected and each film has been divided into the possible tiniest clips. The clips, 3-4 sec long by nature have been coded with tags. Through a network diagram which run as a software simulation, these tags are connected to each other via shared clips have found their positions on the map. Then, a new sequence have been generated through a traversal in the network map, jumping from one node to the closest, following the path of the most central tags. Shores from Egypt to Portugal, woman from Israel to India, mythological figures from Thailand to Turkey here comes an extracted fantasy of “vacation”…

Read the full text by Zeyno Ustun

It is a three part installation:

Projection: Official tourism commercials of countries which are competitors of each other

Digital Print: Network map of representation similarity generated by the content analysis of the tourism commercials (blue nodes represents the traversal paths used for editing the new film)

Video: Generic video of a vacation edited with the analysis of the network map of concepts and clips

Past exhibitions of Monovacation:

Monovacation, 11th Sharjah Biennial, February 2013
http://burak-arikan.com/monovacation-11th-sharjah-biennial

Mono-vacation, Istanbul Modern, March 2013
http://burak-arikan.com/mono-vacation-istanbul-modern

This work was prepared for the purpose of VitrA Contemporary Architecture Series: Please Do Not Disturb exhibition realized in 2013.