Posts tagged art
“The infinity puzzles are a new type of jigsaw puzzle inspired by topological spaces that continuously tile. Because of that, they have no fixed shape, no starting point, and no edges. They can be assembled in thousands of different ways.”
I think what is most interesting about the relation between art and information is the reciprocal relation between art as rarity and information as ubiquity. It turns out that ubiquity can be a kind of distributed provenance, of which the artwork itself is the derivative. The artwork is then ideally a portfolio of different kinds of simulated value, the mixture of which can be a long-term hedge against the risks of various kinds of simulated value falling—such as the revealing of the name of a hidden artist, or the decline of the intellectual discourse on which the work depended, or the artist falling into banality and overproduction. Since art became a special kind of financial instrument rather than a special kind of manufactured article, it no longer needs to have a special means for its making, or even perhaps special makers. Indeed, curators now rival artists for influence the way DJs rival musicians. Both are a kind of portfolio manager of the qualitative. The next step after the dematerialization of the artwork may be the dematerialization of the art worker, whose place could be taken by new kinds of algorithmic functions. These would still have to produce the range of simulations that might anchor the artwork as a derivative of their various kinds of sign value.
Yang Yongliang. Crashed airplane, 2008.
TEMPO POLVEROSO. Frederik Vercruysse.
From the very beginning, since Archillect was made to find images by following a certain relational structure, I had to trust that Archillect would have a certain character in what she found and shared, which would create an almost personal profile. This is the reason I wanted to present Archillect as a person rather than a random bot. As people perceived Archillect as a character, a personality, they also contributed to the project through the ways they interacted with the project as a result of this perception. This was important to me.
Terra0 is an ongoing art project whose goal is to set up an alternative economic unit on the Ethereum Blockchain, while exploring the relationship between art and capital by functioning as a decentralized autonomous organization (DAO). The idea behind the project is to create a situation in which a forest creates capital by selling licenses for the logging of its trees through automated processes, smart contracts and blockchain technology. Terra0 reflects on ownership, personhood and autonomy. According to the project’s initiators, blockchain technology and smart contracts enable non-human actors to administer capital and therefore to claim the right to property for the first time. “Property is discussed now as something which is not separable from a natural or legal entity. Terra0 begins in this legal grey area, originating in the technological change brought about with the invention of blockchain technology and smart contracts,” adds Hampshire.
Zudem zeigte sich die Staatsanwaltschaft plötzlich wunderbar kunstverständig und sagte, das «übergeordnete Interesse an einer öffentlichen Debatte und die Fragen, die der ‹Random Darknet Shopper› aufwirft, den Besitz des Ecstasy gerechtfertigt». Die deutsche Kuratorin Inke Arns schrieb auf Facebook: «Der Schweizer Staatsanwalt scheint ein guter Kunstkritiker zu sein.» Und Marina Galperina, die Chefredaktorin des New Yorker Online-Magazins Hopes&Fears twitterte: «Schweizer Staatsanwalt: Es ist ok, online MDMA zu kaufen! (so lange man ein Bot in einem Kunstprojekt ist.)»
Simon Farid is a visual artist interested in the relationship between administrative identity and the body it purports to codify and represent. In practice, this means that the artist is ‘squatting’ identities that have been constructed by other people for surveillance, marketing or institutional purposes and then discarded. Farid notoriously ‘inhabited’ the identity of an undercover police officer and the one of a politician who moonlighted as a web marketing guru. The first identity was the one discarded by Mark Kennedy, an undercover Metropolitan Police officer who spent almost 8 years pretending to be an environmental activist called Mark Stone. To settle into the life of what the UK calls a “domestic extremist,” Stone traveled under a fake passport and used a driving licence and bank cards bearing his borrowed name. But once Kennedy’s cover was blown however, Stone was nothing but an empty shell. That’s when Farid steps in. The artist reactivated Stone’s email address, started collecting library and store cards, opened a bank account and amassed a number of other identity articles under the name of Mark Stone. By doing so, Farid effectively ‘occupied’ the identity that the police officer had abandoned.
Our anxiety about sleep underscores some uncomfortable realities about the present. How is it that an essential biological function has had to fight so hard to be recognized as, well, essential? When we look back on our lives, the third we spend recharging registers as an opportunity cost, something to be overcome. But what if the on/off binary that we understand consciousness through was the wrong lens to use on sleep? Can we reject the awake/asleep binary, and plot sleeping and dreaming on an expanded spectrum of consciousness? Sleep isn’t death–it’s something else entirely. The future of sleep won’t be its absence, it will be a new class of people leveraging its creative potential. Slowave is the response to this realization
*When you wanna be “anti-surveillance” in the most spectacular, hey-look-at-me, Dutch performance-artist kinda way
L1026314 (via http://flic.kr/p/G6K7zh )
“A poster bearing the image of a Pakistani girl whose parents, lawyers say, were killed in a drone strike, lies in a field at an undisclosed location in the northwestern Khyber-Pakhtunkhwa province. A group of artists in Pakistan are hoping to generate “empathy” among US drone operators by placing giant posters of children in the country’s troubled tribal regions”
“Is it a social club? Is it an entertainment? Is it a secret society? Is it a pyramid scheme, a Ponzi scheme, a cult? Is it a game?” he said. “If you believe it is a game, then it is a game with very high stakes.”
stillness (via http://flic.kr/p/vbikK8 )
stillness (via http://flic.kr/p/w8azdt )
stillness (via http://flic.kr/p/w8aydx )
stillness (via http://flic.kr/p/vb9wz3 )
stillness (via http://flic.kr/p/w8auKv )
stillness (via http://flic.kr/p/vbiauZ )
stillness (via http://flic.kr/p/vb9pvo )
stillness (via http://flic.kr/p/w8amXB )
stillness (via http://flic.kr/p/w7w47Y )
stillness (via http://flic.kr/p/vQESev )
In spite of the political, economic, and ecological crisis of the last few years, the new social forms and categories that have emerged have failed to constitute themselves politically, and it’s hard to fathom what form change could take. In the absence of a collective horizon, the new (second) Industrial Revolution might not lead to the future but to the past, to a Victorian phantasmagoria of sorts, supplemented by consumer gadgetry and semiotic fetishism. A place akin to the Zone in Andrei Tarkovsky’s Stalker, a sentient environment able to materialize all your dreams—but with a twist.
Nakamoto (The Proof). Scan de passeport, fichier numérique .jpg, 2506 x 3430 px, 2014
“Nakamoto est le créateur du Bitcoin, système de paiement révolutionnaire permettant d’effectuer des transactions en ligne de manière anonyme et infalsifiable. Cette monnaie virtuelle est largement employée sur les darknets, réseaux garantissant l’anonymat à la réputation sulfureuse, notamment du fait des activités cybercriminelles qu’ils facilitent (commerce de stupéfiants, faux-papiers, etc.). Dès son premier message public et jusqu’à sa disparition le 12 décembre 2010, Nakamoto a tout mis en œuvre afin de préserver son identité. Non localisable de par ses adresses IP toujours différentes, ses messages sont publiés à des heures aléatoires et écrits dans un Anglais ne permettant pas de déterminer sa nationalité. Ayant créé les premiers bitcoins, on lui prête une fortune estimée à plusieurs centaines de millions d’Euros. L’importance de sa création et le mystère parfaitement maîtrisé autour de sa personne ont aujourd’hui fait de lui un véritable mythe contemporain, alimentant un nombre toujours croissant de rumeurs et de fantasmes.”
DIRIMART Gallery, Istanbul, 2011 Foto: Atelier Kogler
Pierre Schmidt(aka drømsjel), 1978, 2014, image posted with permission of the artist.
lola dupre - paper monsters / angels from the studio floor
What does it mean for a society, when there are robots which act autonomously? Who is liable, when a robot breaks the law on its own initiative? These were some of the main questions the work Random Darknet Shopper posed. Global questions, which will now be negotiated locally. On the morning of January 12, the day after the three-month exhibition was closed, the public prosecutor’s office of St. Gallen seized and sealed our work. It seems, the purpose of the confiscation is to impede an endangerment of third parties through the drugs exhibited by destroying them. This is what we know at present. We believe that the confiscation is an unjustified intervention into freedom of art. We’d also like to thank Kunst Halle St. Gallen for their ongoing support and the wonderful collaboration. Furthermore, we are convinced, that it is an objective of art to shed light on the fringes of society and to pose fundamental contemporary questions.
The Random Darknet Shopper is an automated online shopping bot which we provide with a budget of $100 in Bitcoins per week. Once a week the bot goes on shopping spree in the deep web where it randomly choses and purchases one item and has it mailed to us. The items are shown in the exhibition «The Darknet. From Memes to Onionland» at Kunst Halle St. Gallen. Each new object ads to a landscape of traded goods from the Darknet.
“Knipoog in het Frietmuseum van Brussel dat dit weekend deze gesigneerde foto ontvangt. Clin d'œil au Musée de la frite à Bruxelles qui recevra cette photo dédicacée ce week-end.”
The art field is a space of wild contradiction and phenomenal exploitation. It is a place of power mongering, speculation, financial engineering, and massive and crooked manipulation. But it is also a site of commonality, movement, energy, and desire. In its best iterations it is a terrific cosmopolitan arena populated by mobile shock workers, itinerant salesmen of self, tech whiz kids, budget tricksters, supersonic translators, PhD interns, and other digital vagrants and day laborers. It’s hard-wired, thin-skinned, plastic-fantastic. A potential commonplace where competition is ruthless and solidarity remains the only foreign expression. Peopled with charming scumbags, bully-kings, almost-beauty-queens. It’s HDMI, CMYK, LGBT. Pretentious, flirtatious, mesmerizing. This mess is kept afloat by the sheer dynamism of loads and loads of hardworking women. A hive of affective labor under close scrutiny and controlled by capital, woven tightly into its multiple contradictions.
aether - Nicholas Alan Cope & Dustin Edward Arnold
qaul.net implements a redundant, open communication principle, in which wireless-enabled computers and mobile devices can directly form a spontaneous network. Text messaging, file sharing and voice calls are possible independent of internet and cellular networks. Qaul.net can spread like a virus, and an Open Source Community can modify it freely. In a time of communication blackouts in places like Egypt, Burma, and Tibet, and given the large power outages often caused by natural disasters, qaul.net has taken on the challenge of critically examining existing communication pathways while simultaneously exploring new horizons.
Lola Dupré - Aubrey Beardsley, paper collage on panel 8.2 x 11.6 inches
“The function of the artist is to evoke the experience of surprised recognition: to show the viewer what he knows but does not know that he knows.”
–William S. Burroughs
Jenny Odell - Satellite Landscapes (Transportation Landscape, Waste Landscape, Manufacturing Landscape, and Power Landscape)
Laurent SEGRETIER | Photography
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Art Hack Day expose le grand bluff technologique
Alberta artist, Peter von Tiesenhausen, has effectively stopped oil corporations from putting a pipeline through his 800 acre property by covering it with artwork and copyrighting the top six inches of his land as an artwork. Realizing that mining companies can legitimately lay claim to any land underneath private property to a depth of six inches, van Tiesenhausen contacted a lawyer who drew up an intellectual property/copyright claim that said that if the oil company disturbed the top six inches in any way, it would be a copyright violation.
So here’s what I would say to my taxi driver if the meter weren’t running: The revolution begins at the kitchen table. The desires of the artist and the chef are not so different: to nourish humans and perhaps hold up the mirror to those who consume our products. Change the world. There will always be a new black. But that is because black is eternal. It’s what fashion wants to be. Let’s reduce “the new” to fashion. Let’s call black “culture.” Black is never the old black. It just can’t be. Black is always the black. In this sense, food is always the black. Art is always the black. What is cooking? What is the avant-garde?
Adam Niklewicz - THE ROUND TABLE, 2010
A forest has been planted in Norway, which will supply paper for a special anthology of books to be printed in one hundred years time. Between now and then, one writer every year will contribute a text, with the writings held in trust, unpublished, until 2114.
Weird is a wayward word: though it describes a set of singular effects that link the cultural fringe with peculiar personal experiences, it remains an elusive and marginal term. The similar notion of the uncanny is, on the other hand, basically an establishment term, a well-established literary effect with a sophisticated psychoanalytic pedigree. Weirdness, we might say then, is the uncanny’s low-brow doppelganger, a demotic country cousin that races hot-rods, wears mis-matched socks, and inhabits the strange borderlands between this world and the beyond.
we’ve always said that games are more like cathedrals than they are like movies. It’s a narrative environment, an environment that immerses you in a story, in a time. It’s a time machine. It’s made over hundreds of years.
Schellingcoins are designed to address external, quantitative phenomena. Opinions regarding cultural works are personal and qualitative, and spontaneous reactions to cultural works are even more so. This is different from the commonly expressed quantitative values that the SchellingCoin proposal requires. To adapt SchellingCoins to cultural criticism we must adopt the methods of collective intelligence and the digital humanities and use some tricks to turn personal opinion into cultural appraisal.
nastya ptichek - emoji-nation
For Graeber, bullshit jobs carry with them a moral imperative: “If you’re not busy all the time doing something, anything — doesn’t really matter what it is — you’re a bad person.” But the flipside of that logic seems to be: if you actually like doing x activity, if it is valuable, meaningful, and carries intrinsic rewards for you, it is wrong for you to expect to be paid (well) for it; you should give it freely, even (especially) if by doing so you are allowing others to profit. In other words, we’ll make a living from you doing what you love (for free), but we’ll keep you in check by making sure you have to make a living doing what you hate.
Eno Henze - Stammheimzellen
In the popular imagination, artists tend to exist either at the pinnacle of fame and luxury or in the depths of penury and obscurity — rarely in the middle, where most of the rest of us toil and dream. They are subject to admiration, envy, resentment and contempt, but it is odd how seldom their efforts are understood as work. Yes, it’s taken for granted that creating is hard, but also that it’s somehow fundamentally unserious. Schoolchildren may be encouraged (at least rhetorically) to pursue their passions and cultivate their talents, but as they grow up, they are warned away from artistic careers. This attitude, always an annoyance, is becoming a danger to the health of creativity itself. It may seem strange to say so, since we live at a time of cultural abundance and flowering amateurism, when the tools of creativity seem to be available to anyone with a laptop. But the elevation of the amateur over the professional trivializes artistic accomplishment and helps to undermine the alre
Science has also provided the world with images of sublime beauty: stroboscopically frozen motion, exotic organisms, distant galaxies and outer planets, fluorescing neural circuitry, and a luminous planet Earth rising above the moon’s horizon into the blackness of space. Like great works of art, these are not just pretty pictures but prods to contemplation, which deepen our understanding of what it means to be human and of our place in nature. And contrary to the widespread canard that technology has created a dystopia of deprivation and violence, every global measure of human flourishing is on the rise. The numbers show that after millennia of near-universal poverty, a steadily growing proportion of humanity is surviving the first year of life, going to school, voting in democracies, living in peace, communicating on cell phones, enjoying small luxuries, and surviving to old age. The Green Revolution in agronomy alone saved a billion people from starvation. And if you want examples of true moral greatness, go to Wikipedia and look up the entries for “smallpox” and “rinderpest” (cattle plague). The definitions are in the past tense, indicating that human ingenuity has eradicated two of the cruelest causes of suffering in the history of our kind.
Looking through the works, you see artists sifting through enormous accumulations of images and texts. They do it in various ways—hunting, grabbing, compiling, publishing. They enact a kind of performance with the data, between the web and the printed page, negotiating vast piles of existing material. Almost all of the artists here use the search engine, in one form or another, for navigation and discovery.
Women are seated with a book at a table, filmed in austere black and white against a black background. They have chosen what to read and how to dress. When the camera begins recording, they introduce themselves, and begin reading. Under the table, outside of the subject’s control, an unseen assistant distracts them with a vibrator. The subjects stop reading when they’re too distracted or fatigued to continue, at which point they restate their name, and what they’ve just read. The pieces vary in length based on the response time of the subjects.
Untitled - Robert Hardgrave
Photography does not lend itself to defamiliarization easily, thus making it the unlikeliest of all art forms. As it happens, the challenge plays out on both sides of the process, for photographers and viewers. What happened to be in front of a camera lens can be found depicted in the resulting photograph. However, given the process itself and its myriad of choices, the photograph is little more than a manipulated two-dimensional representation of what previously existed in four dimensions (three spatial, one – often forgotten – time).
The images were rampantly blurred, grainy, scratched, and often just muddled shades of gray. The compositions were negligible, if they could be called compositions at all. Moriyama’s pictorial choices seemed to have been made completely at random, and the reproductions often included the sprocket holes at the negatives’ edges, like a film gone completely off its track. With thirty-five years’ hindsight, it’s easy to see the book as the spiritual godfather of the garage-band aesthetic that dominated commercial design in the eighties and nineties, typified by Raygun magazine and 4AD Records. The visual aesthetic of punk owes Moriyama a debt, as does every art school naïf who has ever taken it upon himself to boil his negatives; piss in the developer tray; mangle, staple, and tear at his prints; or otherwise molest the mechanics of the medium to achieve what by now are fairly standard results.
dutch_female_specimen-J.jpg (via http://www.shopminc.com/M2/room_work/Dutch_female_spec_J.html)
Dada was an attempt to return ‘through the innermost alchemy of the word’ to a more magical, playful reality through overturning of all the conventions associated with civilized adult society- drawing on African, Nordic and Sanskrit traditions, the Cabaret Voltaire was a riot of nonsense, play, colour, and noise- a giant, noisy incantation against all the ills of the world. Dada was ‘the heart of words’. It was a fight. It was a magical battle.
TASTED is a project that investigates the way we taste food and its flavor. Nowadays it is possible to identify a product’s flavor profile through gas chromatography. Starting from a data set of 1000+ ingredients and their flavor compound profiles, Tasted combines ingredients in pairs resulting in over a million combinations. Looking for intersections of compounds between ingredients, food pairs are mapped from most similar to most dissimilar.
The New Uncanny is un-self-consciousness filtered through hyper-self-consciousness, unprocessed absurdity, grandiosity of desire, and fantastic self-regard.
Pablo-016.jpg (via http://www.jamesmollison.com/project.php?project_id=2)
Playfulness is what makes us human. Doing pointless, purposeless things, just for fun. Doing things for the sheer devilment of it. Being silly for the sake of being silly. Larking around. Taking pleasure in activities that do not advantage us and have nothing to do with our survival. These are the highest signs of intelligence. It is when a creature, having met and surmounted all the practical needs that face him, decides to dance that we know we are in the presence of a human. It is when a creature, having successfully performed all necessary functions, starts to play the fool, just for the hell of it, that we know he is not a robot.
Dimension 12 x 18 x 22 cm
Compression molded Cocaine (street sourced) and Gelatin.
“The analysis started with the preparation of the 100% Cocaine standard and sample solution. An amount of standard was dissolved in a mobile phase followed by a series of trial runs to calibrate and identify the HPLC method that gave adequate separation of the standard. After several trail runs the preferred mobile phase consisted of 20% Acetonitrile, 80% water and contained 0,1% Trifluoroacetic Acid (TFA).”
03.jpg (via http://www.mikepelletier.nl/Lucy-Skull)
big_sistema_di_riferimento_monodimensionale_SDRM04.jpg (via http://www.lambertoteotino.com/new_works.php?img=big_sistema_di_riferimento_monodimensionale_SDRM04)
Today, a new generation of practitioners his emerged who are monitoring and critiquing the use of drones not only for military purposes, but also for civilian activities. Their hallmark is a playful curiosity, about how these technologies may be integrated into our daily lives. Working in parallel to the growing movement of UAVers, the ham radio operators of the drone world, these artists and makers, are hacking freely available UAV technology to create unusual aerial antics. But whilst these blithe, inquiring actions are needed and valid, in the meantime, the drone-war continues, with hundreds of civilians killed each year, its remit ever expanding. It would seem that now more than ever, robust critical, tactical media interventions, are urgently required.
05.jpg (via http://www.tonk.ch/)
switzerland_3 (via http://www.postcards-from-google-earth.com/switzerland_3/)
I collect Google Earth images. I discovered strange moments where the illusion of a seamless representation of the Earth’s surface seems to break down. At first, I thought they were glitches, or errors in the algorithm, but looking closer I realized the situation was actually more interesting — these images are not glitches. They are the absolute logical result of the system. They are an edge condition—an anomaly within the system, a nonstandard, an outlier, even, but not an error. These jarring moments expose how Google Earth works, focusing our attention on the software. They reveal a new model of representation: not through indexical photographs but through automated data collection from a myriad of different sources constantly updated and endlessly combined to create a seamless illusion; Google Earth is a database disguised as a photographic representation. These uncanny images focus our attention on that process itself, and the network of algorithms, computers, storage systems, automated cameras, maps, pilots, engineers, photographers, surveyors and map-makers that generate them.
We-Will-All-Be-Changed.jpg (via http://cinaart.com/We-Will-All-Be-Changed)
The Office for Creative Research is a multidisciplinary research group exploring new modes of engagement with data, through unique practices that borrow from both the arts and sciences. OCR clients are research partners, helping to pose, refine and ultimately solve difficult problems with data.
It might be argued that some of the main themes infused in generative art are those to do with a kind of techno-utopianism and futurism. Have you come across any generative artworks that deal with dystopian themes or have a sense of anachronism about them? More importantly are the technologies and software used in creating these artworks inherently defining their aesthetics?
IMG_0113_web.jpg (JPEG Image, 600×600 pixels) (via http://www.suemenow.com/wp-content/uploads/2013/01/IMG_0113_web.jpg)
Two days before the 11th September, Commander Massoud, the most senior war commander and the most credible opponent to the Taliban was murdered. Two al-Qaida suicide bombers posing as journalists killed him with an exploding camera at his camp in Afghanistan’s remote Panjshir Valley.
The connection between his assassination and 9/11 is certain, but this act has been almost completely forgotten because of the magnitude of the events a few days later. The fact that the terrorists used a camera made a deep impression on me.
For me, it is as if the destroyed camera used in the attack against Massoud had continued to work and has been filming a war film for the last 6 years.
All of this, as well as the death of the almost mythic figure of Massoud, has lead me to develop the piece ‘the exploding camera’: a kind of destroyed medium able to produce live an experimental historical film reinterpreting the events of the war.
When personal photography was first becoming popular, it was mostly used for experimentation and artistic expression, like portraiture. Over time, as costs decreased and fidelity increased, photos gained a second function: they became a system for people to store their memories. And only very recently have we begun to experience the third major function of photography, and I think it’s far more important than the other two: photos for individual communication.
tumblr_mf5gq6Nmr41qas8dho2_1280.jpg (JPEG Image, 720×465 pixels)
28_e.gif (via http://www.janetjonesfineart.com/notations/28.html)
Immaculate Telegraphy was an experiment to build electronic communication from scratch in the wilderness. In summer of 2009, I set out in the mountains of western Montana without any modern tools or materials except information, and constructed a working electric telegraph from materials found on the ground. The experiment showed that electronic communication could have been constructed at any point in history given the right information.
Brainforest (2004) (via http://www.steinerlenzlinger.ch/eye_brainforest.html)
Non-fiction children’s books about space flight from 1945-1975.
RICH AND SEEMINGLY BOUNDLESS as the creative arts seem to be, each is filtered through the narrow biological channels of human cognition. Our sensory world, what we can learn unaided about reality external to our bodies, is pitifully small. Our vision is limited to a tiny segment of the electromagnetic spectrum, where wave frequencies in their fullness range from gamma radiation at the upper end, downward to the ultralow frequency used in some specialized forms of communication. We see only a tiny bit in the middle of the whole, which we refer to as the “visual spectrum.” Our optical apparatus divides this accessible piece into the fuzzy divisions we call colors. Just beyond blue in frequency is ultraviolet, which insects can see but we cannot. Of the sound frequencies all around us we hear only a few. Bats orient with the echoes of ultrasound, at a frequency too high for our ears, and elephants communicate with grumbling at frequencies too low.