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Graham Harwood|Database Addiction, YoHa, 2015/16


Graham Harwood|Database Addiction, YoHa, 2015/16



[mks_dropcap style=”square” size=”52″ bg_color=”#ffffff” txt_color=”#dd3333″]B[/mks_dropcap]eing an addict is frustratingly hard work, finding substances, food, shelter, care, treatment are complicated formations that require knowledge situated in the actions and reactions of being addicted yet this knowledge never enters into the machinery of governance that purportedly cares for them. This situated knowledge has much to tell us about forms of reticulated discipline that governs addicts and workers in the care system.

In 2015 YoHa took an ecological and aesthetic approach working with the UK’s National Health Service, addiction clinics to investigate how databases produce an abstraction of the clinical modalities. Database Addiction explored the methods by which the materiality of the care-centres work can be managed and governed at multiple scales from within computation and how such processes transform work based cultures and the lives of addicts. The project close read the structure of the the UK’s National Drug Treatment Monitoring Service which unlocked what is articulated about addiction from an idealogical, technical, political, bureaucratic or governmental viewpoint that is used amongst other things for monetising addiction services. This paper will explore the materiality of database algorithms, from urine and blood samples to entities and relations. This formation can be seen as pointers to a fluid formation of power that is not only a strategy in action for government but holds itself as an emergent ambiguous diagram, a sketch of relations and a technical machine for reticulate discipline. A theatre for the performance of power with a capability to insight, provoke, to compare and combine what ideology can articulate about addiction that is coextensive with creating new knowledge. A kind of abstract R&D that points to the kinds of control governance might find ideal but has not mastered yet.

[mks_dropcap style=”square” size=”52″ bg_color=”#ffffff” txt_color=”#dd3333″]DR.[/mks_dropcap]Graham Harwood is well known for his engagement with controversial projects, sensitively bringing conflicting views together through his work with secure hospitals, local authorities, asylum seekers, museums or with the UK, National Health Service. His work over 22 years with his partner Matsuko Yokokoji has entangled YoHa in the ethics of media systems, representation, anonymity and sensitive data. His current research interests explore how art as a method of enquiry can be utilised to reveal logics as a fluid strategy of power and in how technical objects and people collaborate in contemporary society creating new formations of the body.Graham Harwood and Matsuko Yokokoji (YoHa (余波) English translation ‘aftermath’) have lived and worked together since 1994. YoHa’s graphic vision, technical tinkering, has powered several celebrated collaborations including. Co founding the artists group Mongrel in (1996-2007) and establishing the Mediashed a free-media lab in Southend-on-sea(2005-2008). In 2008 they joined long time collaborator, Richard Wright to produce ‘Tantalum Memorial’ winning the Transmediale first prize for 2009. ‘Tantalum Memorial’ also featured 16 other venues internationally include ZeroOne Biennial (USA), Manifesta07 (Italy), Science Museum London (UK), Ars Electronica (Austria), Plugin (Switzerland), Laboral (Spain). Harwood has also co produced ‘Coal Fired Computers’ (2010) and ‘Invisible Airs’ (2012). ‘Endless War’ explored the database in relation to conflict and was originally commissioned for Void Gallery, Derry, Northern Ireland 2011. The work has toured extensively in the UK and internationally until early 2016 include Kunst Hal Arrhus (Denmark), Neuberger Museum of Art (USA), Centre for New Media Culture (Latvia). ‘Database Addiction’ (2015) explored the work based culture created by databases at a London Addiction Clinic funded by the Welcome Trust.’Wrecked on the Intertidal Zone’ (2014-16) is an ongoing enquiry into the genealogical/ ecological/ political complexity of the Thames estuary with Critical Arts Ensemble and Arts Catalyst. During this time YoHa has become pathologically addicted to the complex estuaries resistance to the logics of computation and it’s interrelation to technical objects.Dr Graham Harwood is the course convenor at the Centre for Cultural Studies, Goldsmiths, University of London where he teaches on the MA in Digital Culture.


2015 年 YoHa 采取生态与美学的取径与英国国家健康服务(NHS)合作,进入上瘾症诊所来观察资料库如何生产临床模式的抽象描述(an abstraction of the clinical modalities)。资料库成瘾探讨照护中心的物质性运作所采用的方法,这些方法可以在计算所导致的不同尺度下被管理与治理;而且这个历程如何地转变了工作为基础的文化,以及上瘾者的生活。这个计划贴近地阅读“英国国家药物治疗监管服务”的结构,这个服务解开了从意识形态上、技术上、政治上、官僚系统里或政府观点中,如何织就与述说上瘾这件事情;而这些角度又如何在其他事物中一并被运用来把上瘾服务转化成为钱(来流通)。这篇论文将会探讨资料库演算法的物质性,从尿液与血液检验样本到资料库的“实体”与“关系”。


格雷厄姆·哈伍德(GrahamHarwood),伦敦大学金匠学院文化研究中心的课程召集人。他因擅长探讨争议性话题而闻名,作品常与英国医院、政府、避难者、博物馆及国民医疗服务制度(NHS)相关。22年以来,他与其拍档Matsuko Yokokoji的二人艺术小组YOHA (“余波”,英文意思為aftermath)深入探讨了媒体制度下的伦理、体现以及敏感资料。目前他的研究主要着眼于如何利用艺术来揭示逻辑的力量以及如何利用技术对象和人在当代社会中创造新的身体形态。YOHA的作品包括荣获2009年柏林新媒体艺术节一等奖的“追悼钽元素”(’TantalumMemorial’),并先后在包括美国、意大利、英国等16国展出;2010-2012年哈伍德与人合作完成了“碳火计算机”(’Coal Fired Computers’ )和“看不见的空气”(’Invisible Airs’);以及2011年基于阿富汗、伊拉克战争战地日记分析的“无止境的战争”(’Endless War’)。YOHA目前正在进行的项目被称为“潮间带的船难”(’Wrecked on the IntertidalZone’),与其他两个英国艺术团体“批判艺术组合”、“艺术催化剂”(Critical Arts Ensemble以及Arts Catalyst)一起主要调查泰晤士河口地区的宗谱、生态和政治复杂性,他们深入研究了河口地区对于当今技术对象、变革所引发的复杂反应。更多相关项目咨询可在YOHA个人网站查询。