Rebecca Gabrielle Cannon is a person born in Australia.
Rebecca Gabrielle Cannon image Rebecca Gabrielle Cannon image Rebecca Gabrielle Cannon image Rebecca Gabrielle Cannon image Rebecca Gabrielle Cannon image Rebecca Gabrielle Cannon image Rebecca Gabrielle Cannon image

Rebecca Gabrielle Cannon studied at the Royal Melbourne Institute of Technology in Australia, initially focussed on Fine Art before graduating with a Bachelor of Arts – Digital Media Art. She complimented her aesthetic and cultural studies with computer programming, having taught herself to program in BASIC at the age of eight, on one of the first consumer-grade PCs (a Commodore 64) at a time when bulletin boards were only just emerging as the first incantation of the internet.

As a young adult, Cannon’s creative work evolved from Painting and Illustration to Animation, Audio and Video Art. She was a successful recipient of several art grants and commissions, creating screen-based works which included an early ‘Machinima’ animation, and an experimental mobile phone game.

Early in her professional career Cannon worked as an arts journalist and curator, organising exhibitions and producing video-art compilations. She remained consistent in her thematic focus on the empowering ways in which artists could challenge Capitalism’s mainstream stranglehold on cultural experience, by innovatively repurposing its technologies of mediation. Within an art partnership she co-curated the cult VHS video ‘zine Some Underground Machine which distributed material too laden with examples of copyright-infringing cultural appropriation to be distributed by any legal means. In the exhibition Cult Classic which she curated, she included – as an artwork – the ’Faces of Death’ video compilation of ‘snuff’ films which could only be seen by illegally downloading it via the Peer-to-Peer file sharing network Bitorrent. In actuality, all of the purportedly ‘snuff’ footage had originally been broadcast on free-to-air television as a result of deliberate or accidental screenings of actual deaths. This inclusion challenged ill-thought attempts to ban the brilliantly-designed bittorrent protocol from the internet, instead highlighting the arguably-more-damaging effects of Mainstream Media. Cult Classic also exhibited the works of Rod Dickinson, an artist who generated crop circles – not with the intention of misleading or defrauding the public, but rather to illustrate the creativity and passion in which human culture can mythologise the existence of other lifeforms as sentient as themselves. The ‘Cult’ in Cult Classic – that of the religious aesthetic experience – being the most transformative artwork of all.

Cannon’s initial introduction to the internet began when she was in high school, when her Media Studies teacher (Jo Flack) took her to the school library for a personal introduction to the then just-released, first ever GUI-based internet browser (Netscape 1). Here, for the first time in her life, she could pro-actively drive her experience of digital media, rather than passively submit to the socially-normative content of commercial TV and radio. Here on the internet it was possible to read information about any topic in the world, without tele-visual ads trying to brainwash the reader. On the internet, anyone could voice their opinion.

Cannon’s passion for the revolutionary power of Culture on the Internet never waned. Throughout the early years of the internet, she blogged about artists using computer games as an artistic medium, on one of the internet’s first Art archives Selectparks (with founder Julian Oliver, the Ars Electronica awarded artist and co-author of the Manifesto of Critical Engineering). Her writing on the topic of artists working with computer games featured in many journals and publications, including a chapter in the book Reskin by MIT Press.

Cannon is an activist dedicated to highlighting the unavoidable importance of all three pillars of sustainability; Economic, Environmental and Social. She has conceptualised an ‘S’ Rating system for measuring Sustainability, along with an associated Sustainability Tax – one which fairly penalises models which do not facilitate the future existence of life. She passionately supported Copyleft before Creative Commons licensing was authored, and cites the adoption of this underground licensing model by international legal systems as potentially the first large-scale, successful application of Autonomous Governance She has been an avid critic of cultural censorship, and is strongly opposed to the invasion of corporate advertising and prescriptive modes of thinking that Capitalism has sought to normalise in its effort to suppress free thought, so as to manipulate entire societies into ritualistically celebrating the ever-increasing liabilities of Social, Economic and Environmental Debt. She believes it is possible to share digital assets via P2P protocols in a manner which is financially fair to content creators (Prosumers). She envisions a world where the financial benefits of technology are shared between a sustainable number of inhabitants on planet earth; where learnings from science are applied for the betterment of all, rather than an elite few. Like other technology strategists, she foresaw the innovative reuse of Public Key Infrastructure for anonymous provenance tracking, prior to Bitcoin’s application of the block chain as a foundational economic infrastructure to support Autonomism. She hypothesizes that humans may be able to share ideas such as these through a sub-conscious, shared Hive Mind. She believes that all religions should have only ever been posited as hypotheses.

Rebecca Gabrielle Cannon is the founder of The Art.Base – a project she started in 2007 as a way to permanently publish and archive – not only the projects she had worked on – but also all Art, by anyone in the world, from any time in history. She is now expanding the SAAS application to support the publication and archiving of information from potentially any industry in the world, by actively developing a range of Vertical sites across – the Publishing Platform and Database of History.

She hopes to build an independent, economically-sustainable, un-biased and ethical publishing platform, that allows people from our varied idealogical approaches to life, to co-exist in a mutually-respectful manner, unhindered by the capitalistic group-hallucination which seeks to generate short-term profits in its legally-enshrined, corporate-law mandate to make the rich richer, and the poor poorer, by forcing company directors to protect the interests of the shareholder above all else. She advocates that the power of consumers lies in their ability to switch their spending to suppliers with a co-operative, members-based organisational model; to suppliers who don’t need to engage in propagandistic advertising to manipulate consumer perception of value, in order to effectively steal profit from the poor to pay shareholder dividends to the rich.

She believes that it is imperative to the survival of life, that we endeavour to teach people how to think, not what to think. That despite the need for ritual and tradition, that religions and cultures with a fixed set of beliefs will never be sustainable, because education solves all problems: therefore information needs to be free.

Additional activities