Rob Myers
Since 2003
Works in United States of America

Rob Myers is an artist and hacker based in the UK.

I have been creating images of the contemporary social and cultural environment through programming, design software and visual remixing since the early 1990s. My work is influenced by popular culture and high art in equal measures. My interest in remixing and sampling has led to my involvement in the Free Culture movement. I have been involved in the public consultation regarding the Creative Commons 2.0 and CC-UK licenses. All my visual art is available under a Creative Commons license.

My interest in programming has led to my involvement with the Free Software movement. I developed the Macintosh version of the Gwydion Dylan programming language compiler. All my software is available under the GNU GPL.
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Simulation as Institutional Critique: Lawrence Lek's 'Unreal Estate'

A wonderful project but using Maya and Unity rather than e.g. Blender and WebGL or Ogre (or OpenSim, or...) then releasing the artwork as a video rather than as freely licensed assets reproduces some of the power structures and strategies that are otherwise under critique.

I've also just been re-reading the section on documentary video from "The Electronic Disturbance". I'm not sure how this work relate to that (does it avoid or intensify the historical failings of documentary video?) but it definitely does.


The Commenter: A Lament

I still feel a twinge of regret over the decline of commenting culture on good ol'"

Yes it's a mystery how that happened.


Prosthetic Knowledge Picks: Code and Economics

I'm biased obviously but there's some good stuff in here, thanks. ;-)

I reviewed _MON3Y AS AN 3RRROR here -

And I then reviewed my review using the statistical programming language R here -


Art Criticism in the Age of Yelp

"Book and film reviews have been reduced to individual data points on aggregator web sites as print journalism collapses. It’s only a matter of time until such big data/collective intelligence approaches expand to cover art criticism.

The aggregation and statistical analysis of art reviews will complete the proletarianization of art criticism. Art critics will be alienated from the products of their labour, and their value will accrue to the ruling class of the walled gardens of the Internet under their identity and reputation. The institutions that legitimate and monetize art criticism will be outside of academia and inside the market.

Art critics can react to this in two ways.

The first is to try to restore their status by becoming part of that ruling class, going meta with their own aggregation and big data efforts. This is like humanities computing (or digital humanities as it’s been rebranded) in much the same way that Google is like grep.

The second is to attempt to resist proletarianization. Gonzo art criticism, free-and-open-source-criticism, engagement with Maker culture and the production of objects, any means of producing art criticism that is resistant to or that benefits from being the subject of monetization-through-aggregation.

In either case, this will be the end of the crisis of art criticism, as it will be the end of art criticism in its current autonomous form."