About

Paul Guzzardo

Guzzardo is a lawyer, media activist, and artist-designer. He is the innovator of a discipline which examines the intersection of artificially intelligent machines (code + things) and the City Street. It is called Recursive Urbanism. Recursive Urbanism is the result of a twenty-five-year hybrid design and litigation praxis, one built on the street and in the courtroom. Recursive Urbanism looks to the street as a stage to probe how we are BEING CHANGED by information technologies, as a platform to assemble collaboratives to SHIELD US from toxic media, and as a LAST STAND against the unraveling of the Social Contract. It explores how urban designers, traditional creative practitioners and elites fit, and or don’t, in all of this.

Guzzardo’s design praxis includes nightclubs, outdoor projections, street-front media labs, street theater, remix concerts, gallery installations, documentary film and webinars.

The Recursive Urbanism litigations explored triage protocols for data sampling “us,” and the institutional and cultural obstacles that cuffed delivery. This attempt to use the street as a triage storyboard provoked an endless round of Bleak House litigations.

Recursive Urbanism as a synoptic design tool and as a litigation hammer has been detailed in a line of academic publications, installations, and filed stamped legal pleadings. The praxis is also set out in the e-book “Hackerspace for Myth Making | The Manual”, and documentaries.

Guzzardo is currently a visiting fellow at the Geddes Institute for Urban Research University of Dundee, Scotland, and a member of a UNESCO Media Information Literacy Innovation Committee. He is on the editorial board of SCALE Publishing, and NFT Journal. He was a former legal counsel for District 34 of the United Steelworkers. In the 1990’s he served a 3-year stint as an agent-manager of the eminent Hindustani musician Ustad Imrat Khan. Guzzardo was a co-author of Khan’s unpublished autobiography “Taaseer: The World of Indian Classical Music.” “Taaseer” examined the Calcutta Renaissance, Imrat Khan’s musical heritage, and the underpinning of a recursive grammar.