Count Zero is derived from William Gibson’s 1984 novel in which he describes obsolete objects floating around in the zero-gravity atmosphere of a gigantic dome, somewhat like astronauts floating in space. When objects shift into outmodedness, they do not simply cease to exist—rather, they undergo a set of subtle transformations. They may become a part of a new set of networks and operations that shift their objective function into novel territories of utilitarianism.

A middle school desk, a discarded bedsheet, an old MacBook. Nathaniel Stern’s
Phossils materially speculate what our outdated electronics may become over the course of a millennia through turning rejected objects into unexpected operative sculptures. Keith Nelson uses reclaimed waste to transcend formal underpinnings of consumption and commodification. Derek Kiesling’s Kneeling Desk recalls the emotional state of obsolete learning environments. Painting and photography are subject to fugitive materials that in of themselves have been superseded. Björn Åckerblom’s paintings simulate the act of visual identity construction through drawing from archaic trends in queer culture and presentation. Jon Verney and Micheal Lagerman’s antiquated use of film acts as an ideal tool for conveying a fleeting sense of time and tradition disappearing in front of our eyes. The perceived obsolescence of these converted objects and artistic processes gives a nuanced context to the “sampled” nature of the ways in which today’s contemporary artists accumulate and remix information through technology in all its forms.

“Count Zero” features work that investigates how this perceived obsolescence effects
technologies, institutions, and cultural trends that impact us.