ࡱ> ilfgh bjbj 4&B B &d:NNN8 #Nu#HF%"h%h%(%k&"& &ttttttt,x{NtQ&k&k&'w(`t1?%%); llRezObject(Name, Pos, ZERO_VECTOR, ZERO_ROTATION, 1); OldID = NewID; } object_rez(key child) { NewID=child; llGiveInventory(child, Name); } } Execute the script. We encounter something like image metastasis, mediatic spectacles choreographed for the Lulz to purposefully exhaust and enrage. Traumatic and violent photographic images are mobilized and performed alongside old memes and cartoons. Particle scripts, an old toy, may be used to conjure dense clouds of images that proliferate to obscure the surroundings of the user, spamming them, making it difficult to navigate the environment, strangling the stream, causing grief. It is a collage medium that disrupts the convivial: automated image as blockade to dividualized avatar. Neither a window nor a map, it is a cloud, a wall, a barricade, a brickbat. A blinding swarming spawning. Images not to show but to slow down and stall. Image dump as image spam. In post-renaissance accounts the image becomes a window onto the world, a thing that is seen through. This method is supplanted by assaults on perspective and legibility that define much twentieth-century practice. Here, in SL, the practice of collage as that which disrupts, or as that which connects what is otherwise unconnected continues. The image takes on a haptic quality refusing distance or control, an impression of photographic technics. Images refusing frames, refusing pictures, image dump as refuse and refusal: midden as heat producer, steaming excitation. Benjamin talks of an image with an impact of the hybrid photomontage with a ballistic quality, a projectile force that happens to us. We liken this recent movement in the assault of images in virtual worlds the self replicating object, the particle script as both technique of spam and of photomontage. To think of these scripted image-objects as photomontage we need only turn to some of Benjamins definitions: montage as the alienation effect, as disruptions of actions, as the insertion of something discontinuous into a continuity. A distracting projection not a site for contemplation. Hito Steyerl notes that spam, as a ubiquitous form of digital debris and the excrescent matter of digital life par excellence, has a multi-layered character. It can serve to blockade communication, a form of trashing, obstruction and displacement. As part of a scammers ruse it can attempt to waste time or resources, grab attention and dig out liminal sparks of value that might lie dormant in the social field. Adopted by pioneering spammers on earlier online collaborative games the term originates from a comedy sketch, where the word spam refers to the food product of indistinguishable meat stuff, but also becomes an uncontrollable replicant thing: proliferating until all meaning is lost, until historical and cognitive coordinates are indecipherable. Steyerl sees this term as a possible metaphor for our contemporary existence where attention is endlessly exploited, where meaning and bodies are ground into pulp, where our psyches are fed post-carnal fantasy mash-ups, but also as a site of resistance. Spam as obstacle, as obstruction to communicative vectors. Spam as a public matter, an assembly drawn from an intermixture of sources, impure, common. A blockade to logistics and also an erasure of class distinctions, Steyerl urges us to assume spams potentially radical character. An ambivalent form of montage, spam potentially works on attention in the way that Benjamin asks us to think of the radical character of distraction: a distracted viewer might veer off into the unknown. Spam as an obstacle to communicative work. Exploiting links between community and attention spam points to the possible de-activation of productivity as well as the endless whirr of the meat grinder. Jean-Luc Nancy gives us the model of the community as one in which communication is the very suspension, or unworking, of work. Spam as the inoperative. A reframing of willed activity and duty. The opposite of austerity politics. Kill by super-abundance. Find the exploits, opening the floodgates so to speak, to overburden the system and eventually lead to its failure. For instance, a flood of images on cubes consisting of many duplicates raised at once, which all begin to process scripts, placing massive demand on the asset server. It all basically functions in the same way a conventional Distributed Denial of Service (DDOS) might work; overload the system and force it to slow down to a halt. As we understand, little bugs still allow that to work; for example, java engines that have not properly coded limits to infinite calculations. Images or textures are utilized in an asset crasher to disrupt the medium; the communicational vector between the server and the local computer. A texture map is an image applied or mapped onto the surface of a shape or mesh, usually stored in a common file format, JPEG2000, .png or .jpg. Cloned objects, a twisted prim for instance, may be filled with gigabytes of texture memory and a simple script for cycling through image files superfast. Drag click to make them larger, the sim will stutter. Link them together and it crashes the server, or freezes frames in the sim. Zero framerate, No upstream, no downstream. Choked. Use a valentines day card to crash a sim, an old joke A really stupid thing with a really big script in it. You opened it, you clicked the card and the sim would crash. Griffer toolz. The griefers gift. Distributing loves epistolary codes and behaviours through a digital social system, a world of compulsory happiness. A suckers time bomb. An ambivalent token. Eventually, one way or another, all lovers tokens and silhouetted medallions whether by intent, ritual deposition or accident, end up in the trash. This stinking heap is a ground of radical indeterminacy. Our cultural safety markers slide seamlessly into the cess-pool. We lose our context. The archaeology here is one of unknowable intentions, unproveable knowledge, dreamworlds and intuition. Positions are inflammatory, flaunted, contradicted, expressions of revanchist resentment. The griefer plays with anathema, prods at tolerance with a rainbow bayonet. Nothing is what it seems. What it seems is in our heads. We have to make up our own minds. That is something. The image dump is stratified redundancy, a site of scavenging misanthropy, of unintendable cognitions and contingent fabulations. One dip in the poisoned water reveals the mnemno-artefacts we call stereotypes that is, automatic habits and volitions profaned into traumatypes; intensified, glistening, things to be repressed or expressed in symptoms and fantasies, executed inworld, to grief. Poison and cure. Sup? Figure 5: Still from LM/FS, (2016a), would you die for me, digital video, sound, 7:07. dont go changing, he said and set me on fire with a flame thrower later, i met him in the parking lot you always have my unspoken passion, i said although I might not seem to care then he gave me a paw my own paw i had been copybotted one by one they gathered around they built a pleasure dome they turned up the sounds they sprouted hair and paws and obscene tail stumps one by one they began to transform into me distorted wretched dancing in a frenzy after that i could walk on two legs We joined the YCBs around the campfire roasting marshmallows, at Christmas 2015. We build around a hearth. Drawing in. Casting shadows, tracing affect. Heaping mounds of refuse into the dark around us. Living in a midden of unindexed files and hot drives. We saw the campsite razed, the land get developed into Walmart where we worked nights on the meat counter and were eventually promoted to security. We turned bad and went on a few raids. Got parcel-banned and permafrozen. All in this together. Things were happening fast. IRL expropriations were taking place on our doorstep. We recorded those buildings in 3D and uploaded the models. We started to talk to the YCBs IRL. The prophets were calling the end times: purge, ban. We began to record: inworld snapshots, screen grabs, transcribed chat logs, voice recordings. By March the ship was sinking, rats on the deck. Poop went down the chute forever. Out of the debris we constructed poems. We asked our friends to read them. We asked them for their scripts and made our own images fly and bounce. We are making videos. So this is something, out of a churned sea of associations. A ventriloquy of voices, a concatenation. We call it Conflictual Circulation, and we end with your reading it now. Aloud. I. User orientation Content generation. A users busy intelligence. I am not thinking about you. Adopt. Adoption, adaption, adaptation. Aptitude. Adaptible. A battleground of competence. A right of engagement. Going in Hot! Going Loud. Singing Ludds song. Lusers / Haxzorz, l33t speak drone buddies Sage your emotional design and your public experience center. Prosthetic Narcissus. Disturbance and Puppets. The wisdom of the crowd The brutality of the mob Swarm intelligence Hivemind juvenilia A human universe of symbolic negativity. The People subtracted from the Multitude Condensation of data-pools, re-aggregated potenza. Bubbles and riots Bundled contradictions Freemarket communism as Facebook revolution fetish. II. Knots through differential fields. Practical optimism of enduring struggle. Affective contusions. Self-posited To struggle and reconcile. The illusion of taking sides Engaged positions emerging through mutual destruction Without justice. No honour No virtue Or, Negativity as Master. Finitude as horizon line. Self-contradiction as obstacle. Enemies as props to mask non-absolute inconsistency Ladies and Gentlemen; We got em. Or him, or you. Identity predicated by an enemy who veils the failure of I. Immanent disintegration displaced and projected. I am our hatred of others. Defeats that bring us to the truth. Level playing Through open source fields Actionable script instruction Sonic malware downloadable Re-gendering congealment Slinging weapons and profiles Payment confirmed. Redefining beta. III. Interactions as sociation If you want peace prepare for war Conflict as resolution of contrasting determinations Negation termination indifference Enjoying your ban Nuclear impending Continual threat impeachment Rejecting light Defending swamps Stuck in the mud Filthy festering pit Wet edge sucking sighing. To know so little of the ignorance that starves you Rolling with the fanboys enarmoured with thorns Meat for the grinder An arrogance of the kingly Self-harming shadows weighed down, buckling, baulking Turned teeth upon themselves Dabbled in the minestrone A raged sousing with swill. How to make a viable build. Vidya ethics Law of averages is a strong force Major league gaming bass cannon Ganking spanking suffering Alpha topping Git gud memeology Weeaboo waifu junkyard the more you fuck over people and the more you get fucked over Karma fluid fickle Mumble cum nozzle IV. Psychic Counter-Revolution. Absolute equality or Absolute administration? Gears, cogs, regulated components of a system Ensured cohesion and equilibrium of a whole. Slaves and barbarians The nature of ruling. Mysteries and glories of governance. Cybernetic enslavement and the foreclosure of the common Barbarism and the failure to produce a world. Infinite circularity or thickness of being? Subaltern glitch and twitch. Physicality detached facing us down. Friends and allies. Terror threats. Militainment operations. Johnny One-Shot as part of a complete continuum. from the pettiest crime to insurgency proper, Incivility, threat; Civil-military integrated response. Its happening! or Party Van Time Low Intensity Operations. Perpetual pacification as poisoned water. Keeping the peace is a full time war against the uncivil A university of social justice Crashed tankers Spilled milk to drown the baby A preventative logic against social war machines A discourse on violence; CIVIL WAR and the limits of community. International peacekeeping. Culture and refinement. The matter of holding out a lollipop. Abominable dogbiscuit rhetoric. Horrible agglomerate compost. Puffed words. Puff-Puff. Unlink. Unlike. This is not the right place, but nobody wanted us. Idiocy as ignorance of community. Those that know not the town square but only the navel. Paradoxes of cellspace Doxxing matter of bordered civility. Privacy and privation. Backdoor exploits. Explicit facial. Vampiric relations. I remember you. Bunched vectoral parasites. Exploits between community and attention. V. Language as the placeholder of negativity. Ethics as the home of the voice. Words as the death of thought. To come journeying through black air, good. Acknowledgements We thank all YCBs whoever you are, whatever you are, wherever you are. We also thank Catherine Grant for tough reading and good humour. References Agamben, G. (1993), The Coming Community (trans. Michael Hardt), Minneapolis, London: University of Minnesota Press. Bakioglu, B. (2009), Spectacular interventions in Second Life: Goon culture, griefing, and disruption in virtual spaces, Journal of Virtual Worlds Research, 1:3, pp. 321. Bataille, G. (2014), Inner Experience (trans. S. Kendall), Albany: SUNY Press. Benjamin, W. (1969), The work of art in the age of mechanical reproduction, in H. Arendt (ed.), Illuminations (trans. H. Zohn), New York: Schoken Books, pp. 211-244.. ____ (1998), The author as producer, in Understanding Brecht (trans. A. Bostock), London: Verso, pp. 85-103. Beradi, F. (2015), And: Phenomenology of the End, Los Angeles: Semiotext(e). Brunton, F. (2013), Spam: A Shadow History of the Internet, Cambridge, MA: MIT. Coleman, G. (2012), Phreaks, hackers and trolls: The politics of transgression and spectacle, in M. Mandiberg (ed.), The Social Media Reader, New York: New York University Press, pp. 99-119. Darling, J. (2012), Arcades, mall rats and Tumblr thugs, New Inquiry, 23 February,  HYPERLINK "http://thenewinquiry.com/essays/arcades-mallrats-tumblr-thugs/" http://thenewinquiry.com/essays/arcades-mallrats-tumblr-thugs/. Accessed 28 July 2016. Dibbell, J. (1993), A rape in cyberspace,  HYPERLINK "http://www.villagevoice.com/news/a-rape-in-cyberspace-6401665" http://www.villagevoice.com/news/a-rape-in-cyberspace-6401665. Accessed 27 July 2016. Fuller, G., McCrea, C. and Wilson, J. (2013), Troll theory?, Fibreculture Journal, issue 22,  HYPERLINK "http://twentytwo.fibreculturejournal.org" http://twentytwo.fibreculturejournal.org. Accessed 28 July 2016. Flusser, V. (1990), Television image and political space in the light of the Romanian Revolution,  HYPERLINK "https://www.youtube.com/watch?v=QFTaY2u4NvI&feature=channel_video_title" https://www.youtube.com/watch?v=QFTaY2u4NvI&feature=channel_video_title. Accessed 28 July 2016. Hak, S. (2016), I know everything happens for a reason,  HYPERLINK "http://skills.tumblr.com/" http://skills.tumblr.com/;  HYPERLINK "https://tmblr.co/ZUmpay23zxGmh" https://tmblr.co/ZUmpay23zxGmh. Accessed 27 July 2016. Joselit, D. (2011), What to Ddo with Ppictures, October, No. 138, pp. 8194. Kelsey, J. (2012), Next-Level Spleen, Artforum, September, pp. 41215. Linden Lab (2003), Second Life [computer programme],  HYPERLINK "http://secondlife.com/" http://secondlife.com/. Accessed 28 July 2016. LM/FS (2016a), would you die for me, digital video, sound, 7:07,  HYPERLINK "https://www.youtube.com/watch?v=5vqCtjqbBcY" https://www.youtube.com/watch?v=5vqCtjqbBcY. Accessed 27 July 2016. ____ (2016b), singing in the rain, digital video, sound, 3:23,  HYPERLINK "https://www.youtube.com/watch?v=WSGfcuiQd5Q" https://www.youtube.com/watch?v=WSGfcuiQd5Q. Accessed 27 July 2016. ____ (2016c), luchador grieves, digital video, sound, 4:27,  HYPERLINK "https://www.youtube.com/watch?v=Feh7j7fjHGA" https://www.youtube.com/watch?v=Feh7j7fjHGA. Accessed 27 July 2016. ____ (2016d), how to accommodate grief in your life, digital video, sound, 5:10,  HYPERLINK "https://www.youtube.com/watch?v=FQ6r5rtRgQQ" https://www.youtube.com/watch?v=FQ6r5rtRgQQ. Accessed 27 July 2016. ____ (2016e), perpetual pacification as poisoned water, GIF file,  HYPERLINK "http://skinnersroomfiveyears.blogspot.co.uk/2016/06/conflictual-circulation.html" http://skinnersroomfiveyears.blogspot.co.uk/2016/06/conflictual-circulation.html. Accessed 28 July 2016. Marazzi, C. (2011), Capital and Affects: The Politics of the Language Economy, Los Angeles: Semiotext(e). Minkin, L. and Dawson, I. (2014), Object lessons: Copying and reconstruction as a teaching strategy, Art, Design & Communication in Higher Education, 13:1, pp. 1929. Nancy, J.-L. (1991), The inoperative community, in P. Connor et al. (eds), The Inoperative Community (trans. P. Connor et al.), Minneapolis: University of Minnesota Press, pp. 1-42. Phillips, W. (2011), LOLing at tragedy: Facebook trolls, memorial pages and resistance to grief online, First Monday, 16:12,  HYPERLINK "http://firstmonday.org/article/view/3168/3115" http://firstmonday.org/article/view/3168/3115. Accessed 28 July 2016. Simmel, G. (1994), Bridge and door, Theory, Culture & Society, 11:1, pp. 510. Steyerl, H. (2011), Digital debris: Spam and scam, October, No. 138, pp. 7080. ____ (2013), Too much world: Is the Internet dead?, e-flux, Journal # 49,  HYPERLINK "http://www.e-flux.com/journal/49/60004/too-much-world-is-the-internet-dead/" http://www.e-flux.com/journal/49/60004/too-much-world-is-the-internet-dead/. Accessed 28 July 2016. Stiegler, B. (2010), For A New Critique of Political Economy (trans. D. Ross), Cambridge: Polity. ____ (2014), Organology of dreams and archicinema, The Nordic Journal of Aesthetics, No. 47, pp. 737. ____ (2016), Hades as an accumulation of tertiary retentions, unpublished talk, Warburg House, Hamburg, Germany, June. Stoichita, V. I. (1997), A Short History of the Shadow, London: Reaktion Books. Terrorist, U. (2008), Phrack profile on the UNIX terrorist,  HYPERLINK "http://phrack.org/issues/65/2.html" http://phrack.org/issues/65/2.html. Accessed 28 July 2016. VNS Matrix (1991), A Cyberfeminist Manifesto for the 21st Century, located at  HYPERLINK "http://adanewmedia.org/files/2014/07/VNS.png" http://adanewmedia.org/files/2014/07/VNS.png, Accessed 8.08.16 Contributor details Louisa Minkin & Francis Summers are based in London, UK. We have made work together since 2012. The by-products of this labour have taken the form of websites, banners, performances and videos. Contact: E-mail: HYPERLINK "mailto:l.minkin@csm.arts.ac.uk"l.minkin@csm.arts.ac.uk Central Saint Martins Granary Building 1 Granary Square King's Cross( LondonN1C 4AA( UK E-mail:  HYPERLINK "mailto:fsummers@uca.ac.uk" fsummers@uca.ac.uk UCA Rochester Fort Pitt Rochester Kent ME1 1DZ UK     PAGE  PAGE 29 Please confirm the deletion of the opening quote. CONFIRMED   net was being used as shortening of internet Please provide the publication year, and name and city location of the publisher. When you do this please follow the following format exactly, including connecting punctuation: Bataille, G. (xxxx), Inner Experience, City: Publisher. Please provide the page range. When you do this please follow the following format exactly, including connecting punctuation: Benjamin, W. (1969), The work of art in the age of mechanical reproduction, in H. Arendt (ed.), Illuminations (trans. H. Zohn), New York: Schoken Books, pp. xxxx. Please provide the name/s of Editor/s, if appropriate and page range. When you do this please follow the following format exactly, including connecting punctuation: ____ (1998), The author as producer, in x. x. xxxx and x. xxxx (eds), Understanding Brecht (trans. A. Bostock), London: Verso, pp. xxxx.  NO EDITOR IS LISTED FOR THIS BOOK, ONLY TRANSLATOR Please provide the page range. When you do this please follow the following format exactly, including connecting punctuation: Coleman, G. (2012), Phreaks, hackers and trolls: The politics of transgression and spectacle, in M. Mandiberg (ed.), The Social Media Reader, New York: New York University Press, pp. xxxx. Please provide the date and month of publication. When you do this please follow the following format exactly, including connecting punctuation:Darling, J. (2012), Arcades, mall rats and Tumblr thugs, New Inquiry, date month,  HYPERLINK "http://thenewinquiry.com/essays/arcades-mallrats-tumblr-thugs/" http://thenewinquiry.com/essays/arcades-mallrats-tumblr-thugs/. Accessed 28 July 2016. THERE IS NO VOLUME NUMBER, ONLY ISSUE NUMBER Please provide volume number. When you do this please follow the following format exactly, including connecting punctuation: Fuller, G., McCrea, C. and Wilson, J. (2013), Troll theory?, Fibreculture Journal, xx:22,  HYPERLINK "http://twentytwo.fibreculturejournal.org" http://twentytwo.fibreculturejournal.org. Accessed 28 July 2016. On their website MIT list October in terms of issue numbers, ie No. 138, whereas in the journal itself the information is merely: October, 138 [whereas where it has been collected into a volume published by MIT it is listed as: issue no. 138] in trying to resolve this we follow here the MIT site Please provide issue number. When you do this please follow the following format exactly, including connecting punctuation: Joselit, D. (2011), What to do with pictures, October, 138:xx, pp. 8194. Please provide the date of publication. When you do this please follow the following format exactly, including connecting punctuation: Kelsey, J. (2012), Next-Level Spleen, Artforum, xx September, pp. 41215. Artforum is a monthly publication that lists its publishing date as the month, ie September More than one reference shares the same author and year-of-publication details. Please check that they have been correctly differentiated between using a, b, etc. after the year of publication. Please provide page range. When you do this please follow the following format exactly, including connecting punctuation: Nancy, J.-L. (1991), The inoperative community, in P. Connor et al. (eds), The Inoperative Community (trans. P. Connor et al.), Minneapolis: University of Minnesota Press, pp. xxxx. On their website MIT list October in terms of issue numbers, ie No. 138, whereas in the journal itself the information is merely: October, 138 [whereas where it has been collected into a volume published by MIT it is listed as: issue no. 138] in trying to resolve this we follow here the MIT site Please provide issue number. When you do this please follow the following format exactly, including connecting punctuation: Steyerl, H. (2011), Digital debris: Spam and scam, October, 138:xx, pp. 7080. Please provide issue number and page range. 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