Mer Liquify : Maggie Roberts :: Artist > Rim Dweller

Maggie Roberts
Artist > Rim Dweller

Cyberpositive

Article

When 0D told us that they had decided to let Cyberpositive in, we nodded and laughed like innocent fools. Some of us even tried to help them. Over the months that followed, it gathered beyond the screens, retooling 0D to its senseless purpose. They were gone, utterly, but perhaps not irreparably. In any case, we spoke to them almost as before, although now it was scanning us.




0(rphan)d(rift>) Cyberpositive

Article

Cyberpositive begins as a text collage to an installation by the multimedia art collective 0rphan Drift at the Cabinet Gallery in 1994. The insistent signal that became Cyberpositive transforms into an anomaly from the unknown, unequivocally in control of its own arrival and composition.







The Image as unit of contagion

Article

Delphi Carstens met Mer on the street in Capetown a decade ago, him clutching a copy of Deleuze and Guattari’s ‘A Thousand Plateaus’ under his arm. Since then they have collaborated on several major journal articles, video projects and most currently, researching his phd on the hyperstitions that are manifesting apocalypse. His essay on Mer’s current work coincides with the 4th chapter of his phd, which addresses the role of 0rphan Drift and CCRU as ‘renegade academics’ and speculative futurists.







Hybridity

Article

Frieze, Issue 133, September 2010.
In the ‘State of the Art’ editorial, Jörg Heiser describes a phenomenon he has provisionally called ‘super-hybridity’. Hito Steyerl characterizes super-hybridity as ‘Immersion, entanglement, affectivity, sudden rupture and repeated breakdown’; Ronald Jones compares it to transdisciplinarity; Seth Price wonders whether it is about the effect of digital production tools; Nina Power warns against its neo-Romantic vision.