Give Battle In Vain
navigating the terror
(data book John Hyatt)
exhibition:
[MAINTAIN RADIO SILENCE]
by the questionably-gendered
DORIA HEMMING [star of chapter 31]
with his/her sister/brother RADIO
Author/Artist will appear in person(s) at 6.00pm on 5th July 00.
Giving out free absinthe (while stocks last)
His/her traces will remain in the Foundry Vaults until 16th July.
... It was a complex story. Indeed so complex that it seemed a deliberate smoke-screening device. An arts project by the internationally renowned artist, Doria Hemming had been unveiled to unanimous arts press applause down in the city centre. The trans/bisexual Hemming had announced that he/she was teaming up on the project with a rising new art star, the AISCARP. Doria Hemming teaming up with anyone was unprecedented. He/she was a superstar; a household brand name. Hemming was the sort of artist a city bought in to create some buzz about the fact that the city was a city, a real place rather than just a site through which information and data was switched and shifted. With the collapse of national boundaries, following new technical development, cities had to project their image on to a world stage. Hiring in arts superstars was one way of doing this, a little like the Italian Renaissance of the fifteenth centuary, when city states hired in the roving artists-for-hire to execute civic buildings, murals or statuary. There were about six contemporary artists of Hemming's global stature. Hemming did not need to team up, let alone with an Artificially Intelligent Self-Curating Robot Programme.