In Either/Or the principle of exclusivity undergoes détournement by a diverse range of invited participants. Either celebrate its brutal 2-state logic cutting across a stacked earth, or contest such sovereignty in precipitating each uncanny flip or flop glimpsed struggling against its slitted foreclosure. KISS!! In an evening of unemployable expenditure, from the trauma of the binary to its ontic co-constituency, Either/Or includes talks and performances

Competing images overlaid each other: sections disintegrating into psychedelic digital interference. The channel was undecipherable in any conventional sense, yet somehow compelling. Broken fragments of religious iconography, a cross in the centre, a close up of burning candles, the outline of a figure in ceremonial robes, features morphing in a process of RGB fractal degeneration, geometric disturbances punctured organic forms and revealed a gathered congregation. Fragmented Images obscured the reading of a coherent totality, yet the interference reconstituted pieces into alluring sequences, producing a new whole, possibly a new religion.

We drifted estates with our AV receiver auto scanning frequencies, hacking signals from CCTV, punctuating our walk with fugitive images of usually inaccessible viewpoints in an attempt to see like an estate.

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“Robin Hood Gardens – ANTI-GENTRIFICATION GHOST DANCE’, was constructed from field recordings of electromagnetic emissions, recorded on a drift around Robin Hood Gardens as compulsory purchase orders were being enforced, slowly clearing the estate. This recording represents a brutalist record of one moment in the ongoing clearances hallucinated as an insurrectionary carnival of resistance.

This text explores the marginal historys and psychogeographical activities of a small area of East London. The junction of Commercial Road and Burdett Road, and three adjacent buildings which radiate a magnetic force throughout contemporary London Psychogeography; St Annes Limehouse, Limehouse Town Hall and the Sailors’ Mission.

Humans are widely assumed not to have a magnetic sense…However, there is consistent evidence of an influence of geomagnetic fields on the light sensitivity of the human visual system. Moreover, it has been proposed recently that light-sensitive magnetic responses are not only used for directional information, but may also aid visual spatial perception in mammals, by providing a spherical coordinate system for integrating spatial position. (Foley, Gegear & Reppert: 21 June 2011)

A film by: Chris Jack, Sasha Scott, and John Wild. Featuring performance by Robin Bale.

At Internet Yami-Ichi, designer biometric data will be for sale in the form of silver fingerprint casts. Each fingerprint can be used to create wearable alternatives to your own fingerprint data.

Form May to the end of August 2013 John Wild worked with Tatiana Bazzichelli, at transmediale, on a project to map the reSource network of independent technology based art/hacker spaces in the city of Berlin. The mapping project rapidly developed a Schizoid split between a practical Cartesian rationalism and a Psychogeographic abstraction that was resolved by the development of two distinct approaches to mapping the network.

A morse signal light was situated near the top of a 27-storey brutalist housing block in Poplar, East London. Real-time “lonely” tweets, twitter expressions of loneliness and isolation, were extracted from twitter and rebroadcast in Morse code from the signal light.

OCTOBER 23RD 2012  PARASITE :SHELLEY PARKER HOSTS : " "[sic] TIM GOLDIE & JOHN WILD 

‘Drone Planes Over Westfield’, responds to the paranoia that surrounded the London Olympics, as anti-aircraft missiles were stationed on the top of East London tower blocks.

PARASITE : NINA POWER HOSTS : " "[sic] Tim Goldie & John Wild BROADCAST JUlY 24th 2012