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“Humans tended to prefer solutions from other humans over those proposed by algorithms, because they were more intuitive, or were less costly upfront—even if they paid off more, later.”
The latest in the Whitney Sunrise/Sunset series of online art commissions, Sara Ludy’s Tumbleweeds (2022) take over the museum website for 30 seconds twice a day. The project is a “continuously evolving map of light points” that corresponds to Ludy’s work in New Mexico, where the American artist fixes found glass shards to tumbleweeds and releases them back into the wild. Once recorded as short video clips, they are added to Ludy’s ‘star map’ of travelling lights.
“Responses to his early art were not encouraging: ‘Your electrons are only virtually existing, you cannot touch them. This can’t be art.’”
Ben Grosser’s solo exhibition “Software for Less” opens at Aksioma, Lubljana, as the final chapter of a four-part program on “New Extractivism.” The American artist and programmer whose works examine how clicks, likes, and endless notifications fuel our “appetite for more” presents several recent software provocations that “produce less profit, less data, and fewer users.” Case in point: Minus (2021), a social network that limits users to 100 posts—for life.
Domenico Quaranta
Surfing with Satoshi
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