After the government started to cut major social network platforms access, Occupy Central, Hong Kong protesters turn to mesh networks to evade China’s censorship http://www.extremetech.com/extreme/191118-hong-kong-protesters-turn-to-mesh-networks-to-evade-chinas-censorship
On August 11 the Museum of Contemporary Art (MOCA) in Taipei presents the exhibition ZONE V2_, summing up the last three major themes of the Dutch Electronic Art Festival (DEAF): ‘Machine Times’, ‘Information is Alive’ and ‘Interact or Die!’. Focused on the cultural and social consequences of interaction the exhibition (and a two day conference) will be a retrospective of artworks selected in the last 10 years. But why one of the oldest European institutions related to media and time based art has placed this retrospective in such a distant place? Their attitude to cultural exchange all over and the emerging creative Taiwanese scene is the answer, one of the most lively one, still unknown abroad, that deals with game culture, sound art and digital culture at large. The list of exhibited artworks includes: ‘PainStation, Enhanced Dueling Artifact’, by ////////fur////, ‘G-Player 4′ by Jens Brand, ‘Feed’ by Shane Cooper, ‘Logo.hallucination’ by Christoph Bruno, ‘Synthia – Stock Ticker’ by Lynn Hershman, ‘Purple Rain’ by Joyce Hinterding, David Haines, ‘data.tron’ by Ryoji Ikeda, ‘Pockets Full of Memories’ by George Legrady, ‘Drawn’ by Zachary Lieberman, ‘Beijing Accelerator’ by Marnix de Nijs, ‘Cheap Imitation’ by David Rokeby, ‘YOKOMONO’ by Staalplaat Soundsystem, ‘Exactitudes’ by Ari Versluis and Ellie Uyttenbroek, ‘Amazon Noir’ and ‘Google Will Eat Itself’ by Ubermorgen.Com, Alessandro Ludovico, Paolo Cirio, ‘zgodlocator/version zII’ by Herwig Weiser and ‘Chinese Portraiture’ by Zhou Hongxiang.