Simulation, modelling, algorithms, and automated prediction continue to displace the boundary between simulation and the real. And yet we still struggle to find a theoritical register in which to address the hybrid objects produced by these processes. How can the images called forth by new technologies of communication, interaction, and violence be conceptualised no longer as dissimulations, representations, or reproductions, but as real operations? Beyond the time-based, cinematic or televisual image, how do we ddress the automated production of images that outstrip human perception?
"Simulation, exercise, operations" brings together participants from various differetn disciplines and perspectives to discuss these questions through the prism of the simulations of John Gerrard -artworks in which the optimisation of human power ans its relation to discipline and choreographed display is explored through some of the very technologies that increasingly mediate both global warfare and global entertainment.
Drawing on the history an contemporary cutting edge of computing, warfare, cinema, gaming, politics, forensics, and epistemology, "Simulation, exercise, operations" advances our undertanding of the contemproary simulated image, in its complex relation to human and machine vision, algorithms, the body, and virtual space.