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gummybearattacktheworldofdespair:
gummybearattacktheworldofdespair:
Cassette Video - Video on (Audio) Cassettes!
“How trees are made”
[ video and soundtrack ]
Instead, the stories could become worlds inhabited by things that keep slipping beyond our grasp. Things which lurk at the back of our mind, on the tip of our tongue, just out of reach. Stories with protagonists that can only be known as gaps in being. The spaces they leave. Not here and not quite there yet. Dwelling on the peripheries of the sensible, speaking in glimmers, shimmers, suggestions.
These stories may not even have words. They might be felt rather than told. In sound, scent, touch and light. The stories might be experienced at the limits of the visible spectrum, pulsing at ultraviolet or infrared frequencies. They might inhabit the radio spectrum or create divergencies across the spectrum of acceptable behaviours. Spectral stories, stories of cosmic spectra and planetary spectres. The folk tales of unquiet matter.
“I have sought to show how the terms ‘mind’ and 'matter’ are abstractions which in their concreteness are identical”
—Peter Sjöstedt-H
Recorded and composed in the Sonoran Desert, Seili, the Kii peninsula, Istria, Helsinki, Brussels and Elsewhere during 02018 and 02019 by Maja Kuzmanovic and Nik Gaffney
Random acts - an unnatural history of the world
made by weirdcore and Jack Chapman
music by Russell Haswell
presented by Eric Wareheim
FoAM. Dynamic space of operation (2017)
FoAM. Skirting the adjacent possible (2017)
FoAM, Transforming transformation (2017)
COLMAP is a general-purpose Structure-from-Motion (SfM) and Multi-View Stereo (MVS) pipeline with a graphical and command-line interface. It offers a wide range of features for reconstruction of ordered and unordered image collections. The software is licensed under the GNU General Public License.
“Large Scale Deep neural net dreaming, steered by chat (now 2x more pixels)“
20150423 (via http://flic.kr/p/s4iDZ4 )
fo[am]tones - scratch (via http://flic.kr/p/sgFNAR )
fo[am]tones - scratch (via http://flic.kr/p/rjJqqW )
fo[am]tones - scratch (via http://flic.kr/p/rZhnT4 )
fo[am]tones - scratch (via http://flic.kr/p/sgzKK3 )
fo[am]tones - scratch (via http://flic.kr/p/sgFMC8 )
fo[am]tones - scratch (via http://flic.kr/p/sgJBGz )
fo[am]tones - scratch (via http://flic.kr/p/rZ9hvL )
So what I’m going to talk today, obliquely, about is a project that I’ve been sort of accidentally engaged in for the last six months or so, to which I gave the name “The New Aesthetic,” which is a rubbish name but it seems to have taken hold. And people are responding to it, which is good. And I’m going to try and talk through some of the symptoms of that, this project, this way of seeing, that is itself about ways of seeing. And this talk is about the aesthetics of that. So this idea extends in all directions and through all forms in media and technologies. But because I have nice big screens here, I’m going to show you a lot of pictures of it.
http://www.webdirections.org/resources/james-bridle-waving-at-the-machines/