"Simon Denny has emerged as one of the art world's foremost students of media. Whether cataloguing the formal progress of the TV set from tube to flat screen, highlighting moments of interference where the smooth flow of information is interrupted, or unearthing the forgotten histories of our broadcast institutions, with each successive project he carefullly explores the inner mechanics and cultural impact of our communications. In Full Participation, Denny looks into the fascinating history of Aspen's GrassRoots Television, the nation's oldest community station."--P. 6.

Part memoir, part essay collection, Megan Dunn’s ingenious, moving, hilariously personal Things I Learned at Art School tells the story of her early life and coming-of-age in New Zealand in the ‘70s, ‘80s and ‘90s. From her parents’ divorce to her Smurf collection, from the mean girls at school to the mermaid movie Splash!, from her work in strip clubs and massage parlours (and one steak restaurant) to the art school of the title, this is a dazzling, killer read from a contemporary voice of comic brilliance. Chapters include: The Ballad of Western Barbie; A Comprehensive List of All the Girls Who Teased Me at Western Heights High School, What They Looked Like and Why They Did It; On Being a Redhead; Life Begins at Forty: That Time My Uncle Killed Himself; Good Girls Write Memoirs, Bad Girls Don’t Have Time; Videos I Watched with My Father; Things I Learned at Art School; CV of a Fat Waitress; Nine Months in a Massage Parlour Called Belle de Jour; Various Uses for a Low Self-esteem; Art in the Waiting Room and Submerging Artist. Praise for Tinderbox: “Tinderbox is deadpan hilarious and Megan Dunn is a comic genius.” - Susanna Andrew, Metro “Megan Dunn's wry, whip-smart memoir about Fahrenheit 451, literary ambition & the last days of Borders Bookstores is funny & insightful as hell. Like Kathy Acker meets Sue Townsend. The read of the summer! ... already one of my favourite New Zealand books.” - Hera Lindsay Bird “Witty, highly entertaining.” - Philip Matthews, Stuff "Tinderbox is such a shape-shifter, such a sui generis work, that to call it a memoir does it a disservice ... [Dunn’s] voice is hard to resist – sardonic, brazen, sagacious – recalling, in places, Nora Ephron, John Jeremiah Sullivan, and Maggie Nelson.” - James Cook, Review 31

"Simon Denny's new body of work for Portikus ranks among the most ambitious the artist has developed to date. Over the period of one year, the artist researched and developed an intricate project that has grown to considerable dimensions -- both physically and in terms of its critical content. For two months, the monumental gallery space is turned into an homage to technology, communication, and the relentless need for innovation. Simon Denny has produced an embracing and multi-faceted installation that functions as a documentary of the South Korean technology giant Samsung and its global success story. The exhibition's title, "New Management", refers to the legendary management philosophy that Lee Kun-hee, Chairman of the Samsung Group, infamously introduced in the early nineties."--Publisher's website.

Artists and writers examine the bombardment of information, misinformation, emotion, deception, and secrecy in online and offline life in the post-digital age. Every day we are bombarded by information, misinformation, emotion, deception, and secrecy in our online and offline lives. How does the never-ending flow of data affect our powers of perception and decision making? This richly illustrated and boldly designed collection of essays and artworks investigates visual culture in the post-digital age. The essays, by such leading cultural thinkers as Douglas Coupland and W. J. T. Mitchell, consider topics that range from the future of money to the role of art in a post-COVID-19 world; from mental health in the digital age to online grieving; and from the mediation of visual culture to the thickening of the digital sphere. Accompanying an ambitious exhibition conceived by the Sharjah Art Foundation and volume editor and curator Omar Kholeif, the book is a work of art and a labor of love, emulating the labyrinthine corridors of the exhibition itself. Created by a group of writers, artists, designers, photographers, and publishers, Art in the Age of Anxiety calls upon us to consider what our collective future will be and how humanity will adapt to it.

A wide-ranging and challenging exploration of design and how it engages with the self The field of design has radically expanded. As a practice, design is no longer limited to the world of material objects but rather extends from carefully crafted individual styles and online identities to the surrounding galaxies of personal devices, new materials, interfaces, networks, systems, infrastructures, data, chemicals, organisms, and genetic codes. Superhumanity seeks to explore and challenge our understanding of “design” by engaging with and departing from the concept of the “self.” This volume brings together more than fifty essays by leading scientists, artists, architects, designers, philosophers, historians, archaeologists, and anthropologists, originally disseminated online via e-flux Architecture between September 2016 and February 2017 on the invitation of the Third Istanbul Design Biennial. Probing the idea that we are and always have been continuously reshaped by the artifacts we shape, this book asks: Who designed the lives we live today? What are the forms of life we inhabit, and what new forms are currently being designed? Where are the sites, and what are the techniques, to design others? This vital and far-reaching collection of essays and images seeks to explore and reflect on the ways in which both the concept and practice of design are operative well beyond tangible objects, expanding into the depths of self and forms of life. Contributors: Zeynep Çelik Alexander, Lucia Allais, Shumon Basar, Ruha Benjamin, Franco “Bifo” Berardi, Daniel Birnbaum, Ina Blom, Benjamin H. Bratton, Giuliana Bruno, Tony Chakar, Mark Cousins, Simon Denny, Keller Easterling, Hu Fang, Rubén Gallo, Liam Gillick, Boris Groys, Rupali Gupte, Andrew Herscher, Tom Holert, Brooke Holmes, Francesca Hughes, Andrés Jaque, Lydia Kallipoliti, Thomas Keenan, Sylvia Lavin, Yongwoo Lee, Lesley Lokko, MAP Office, Chus Martínez, Ingo Niermann, Ahmet Ögüt, Trevor Paglen, Spyros Papapetros, Raqs Media Collective, Juliane Rebentisch, Sophia Roosth, Felicity D. Scott, Jack Self, Prasad Shetty, Hito Steyerl, Kali Stull, Pelin Tan, Alexander Tarakhovsky, Paulo Tavares, Stephan Trüby, Etienne Turpin, Sven-Olov Wallenstein, Eyal Weizman, Mabel O. Wilson, Brian Kuan Wood, Liam Young, and Arseny Zhilyaev.

Artists Re:Thinking the Blockchain is the first book of its kind, intersecting artistic, speculative, conceptual and technical engagements with the the technology heralded as 2the new internet3. The book features a range of newly commissioned essays, fictions, illustration and art documentation exploring what the blockchain should and could mean for our collective futures. Imagined as a future-artefact of a time before the blockchain changed the world, and a protocol by which a community of thinkers can transform what that future might be, Artists Re:Thinking The Blockchain acts as a gathering and focusing of contemporary ideas surrounding this still largely mythical technology. The full colour printed first edition includes DOCUMENTATION of artistic projects engaged in the blockchain, including key works Plantoid, Terra0 and Bittercoin, THEORISATION of key areas in the global blockchain conversation by writers such as Hito Steyerl, Rachel O'Dwyer, Rob Myers, Ben Vickers and Holly Herndon, and NEW POETRY, ILLUSTRATION and SPECULATIVE FICTION by Theodorios Chiotis, Cecilia Wee, Juhee Hahm and many more. It is edited by Ruth Catlow, Marc Garrett, Nathan Jones and Sam Skinner. Along with a print edition, Artists Re:Thinking the Blockchain includes a web-based project in partnership with Design Informatics at University of Edinburgh: Finbook is an interface where readers and bots can trade on the value of chapters included in the book. As such it imagines a new regime for cultural value under blockchain conditions. This book and surrounding events is produced in collaboration between Torque and Furtherfield, connecting Furtherfield's Art Data Money project with Torque's experimental publishing programme. It is supported by an Arts Council England Grants for the Arts, Foundation for Art and Creative Technology and through the State Machines project by the Creative Europe Programme of the European Union.

"Denny was selected to represent New Zealand at the 56th Venice Biennale, exhibiting Secret Power at the New Zealand Pavilion. Anthony Byrt is an Auckland-based critic and journalist. He is a regular writer for Metro, a contributing editor to Paperboy, and the New Zealand correspondent for Artforum International. His book This Model World: Travels to the Edge of Contemporary Art was shortlisted for the 2017 Ockham national book award. Together the pair have created an exhibition, The Founder's Paradox, including essays, on a series of large art pieces based on familiar board games. The games unpack extreme libertarian ideologies such as those held by 'new' New Zealander Peter Thiel and other Silicon Valley thought leaders. The Founder's Paradox is on at the Michael Lett Gallery until December 22."--www.radionz.co.nz.

Social enterprise has become a much discussed term in recent years, often in conjunction with the public sector - the idea that entrepreneurship might somehow step in and save the public purse has taken hold in a number of areas. This book introduces and explains the terminology surrounding social enterprise and brings much-needed rigour to proceedings by demonstrating how this can be measured, evaluated and held accountable. A range of validated evaluation measures, tools and techniques, such as ‘SROI’, the ‘Outcomes Star’ and randomised control trials, are presented in individual research projects, conducted by an exciting and eclectic mix of international authors who are recognised experts in the field of social enterprise. Wrapping up with the ground-breaking use of a General Self-Efficacy scale, a reflective critique of social finance and a challenge to the actual concept of social enterprise, the book discusses the potential disadvantages that can arise from the commodification of social enterprise activities, resulting in a fascinating summary of current thinking surrounding this topic.