that sort of way of working with the web and there's been a change to the scheduled program which is that two of our presenters are actually have fallen sick and are unable to participate today so we're working with a little bit of a skeleton crew but that'll be i think to our advantage ultimately my name is michael connor i'm artistic director of rhizome up first we will have  survivors use of social media for designing digital supportive spaces by kristen barton said that further ado i think we should get started and come on up olga thank you so much for having me here so this is an to be approaching it through the notion of assemblages assemblages are historically situated objects that draw together people events places technologies by the relations of power and so a theory and art are conflicts so first when we talk about mediate ization these are higher order processes of societal transformation which are driven by technology based interdependence on the one hand there's rapid technological advancement on the other hand as humans in increasing reliance on these digital tools and as an outcome it not only mediates this reliance not only mediates but also restructures the social interrelations that are relying on th including family life we rely on media when we communicate with our family but also other social domains such as governance healthcare economy and one of these social domains that got restructured by media decision is war  so what happens is that by the virtue of its reliance on the digital tools social domains started converging and overlapping and so this presentation is situated at the overlap between  nexus and as i will be trying to show that it destroys the military civilian divide that used to exist in the military operations and  they construct art from the objects found in the ukrainian war zone and this object is called this assemblage it's called the brain of war so it intends to depict the role of digital media in modern day in warfare as you see this is a grenade and there's lots of cameras facing all the way so it's not only it not only shows cyberspace as a site for military operations but it also shows kind of the different angles that could be taken at what is different countries of the world but if you zoom in you see that each soldier becomes kind of faceless and that is the dominant paradigm how we see warfare but as we're going to be trying to show today it's a little being widely used in regards to this kind of military conflicts then who really gets to be a soldier can civilians really participate in military conflicts if they're mediatised and also given the recent tendencies that happened in the with the computational propaganda online we can also ask what gets to be a soldier because a lot of these efforts are computational and it might doesn't necessarily have to be a human that is behind a military effort of the state and the third question is is there really a military civilian divide that's what we read in the literature that's what especially during the two thousand and four war in iraq we had a lot there's there were interviews by especially the military that claimed that there's a military civilian divide as we know the cnn effect which basically made the country's foreign policy reliant on the public opinion  claimed that there was this divide between what's really going on at the battlefront and what the public is thinking how the battlefront events are depicted to the public through the media and so we would like to question that military civilian divide and show that in fact a military