1,185 days, 1,864 entries ... Newsticker, link list, time machine: HOLO.mg/stream logs emerging trajectories in art, science, technology, and culture––every day
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“One thing I like about this approach is that, because it never goes inside the neural net and tries to change anything, but just places a sort of wrapper over the neural net.”
– Computer scientist Scott Aaronson, discussing cryptographic watermarks he’s developing for
’s GPT language model. “We want there to be an otherwise unnoticeable secret signal in its choices of words,” he says of encoding specific vocabulary and syntax patterns that will make AI-generated texts instantly detectable, protecting against both plagiarism and propaganda.
“I’m worried. I could see people signing away contracts right now that could have really detrimental impacts on their future ability to make work as themselves.”
– American composer and “computer musician”
, on how AI complicates intellectual property. “I want people to understand how powerful these systems are and how having sovereignty over training data is really important,” Herndon says, encouraging artists to experiment with her vocal model
After exploring “
Water” as a major exhibition theme in 2019-20, the Queensland Gallery of Modern Art (GOMA) opens “Air,” featuring more than 30 artists including Dora Budor, Nancy Holt, and Katie Paterson that probe the cultural, ecological, and political dimensions of Earth’s atmosphere. “Air” is anchored by Tomás Saraceno’s Drift: A cosmic web of thermodynamic rhythms (2022, image), a new commission that suspends 13 partially mirrored spheres in GOMA’s central atrium.
“I needed to train myself to cry in order to continue feeding those tiny marine ecosystems.”
– Polish artist and designer
, on gathering enough tears for her installation
How to Make an Ocean
(2021), a set of 12 miniature marine worlds that ‘bottled’ climate grief at the COP27 WHO
. Molga’s secret: a special “tearspoon” and her
, an AI-driven video piece that serves alarming environmental news.
By Opening This Book
An edition of 100 sealed books, each key to a unique web experience. By opening the book, readers agree to contractual terms that, much like the often ignored internet fineprint, remain the
“We can keep suppressing the wages of Uber drivers—keep them below the cost of living—because they can always supplement by renting out their apartment on Airbnb.”
– Technology studies scholar
, describing the circular logic of worker exploitation under platform capitalism. Chatting about his
on dark stores and ghost kitchens, he describes the recent failure of several post-Amazon “flimsy logistical companies.” [quote edited]
“ON AIR: The Sound of the Material in the Art of the 1950s to 1970s,” an exhibition excavating the pre-history of contemporary sound art, opens at Kaiser Wilhelm Museum in Krefeld, Germany. Assemblies, experiments, and media by
Joseph Beuys, Bruce Nauman, David Tudor, and co-presenter Museum Tinguely’s namesake Jean Tinguley, demonstrate how “sounds, tones, noises, signals, and voices became ‘substantial’ sculptural material” in the second half of the 20th century.
“She represents us—an idealized us—with all of our body dysmorphia and best and worst qualities, warts and all. That’s who we are as consumerists, which is filled with those contradictions.”
, discussing Barbie, whom he interprets as “a spaceship, because she’s a vessel for genetic code.“ Beyond his recreation of the iconic blonde, other ‘spaceships’ in his
eponymous current exhibition
and the Technics 1200 turntable.
project of Wm (Bill) Perry, “LOST & FOUND Telidon art of the early ’80s,” opens at Toronto’s Cameron House. Presenting limited edition prints of videotex art made on Telidon (1978-85, Canada’s precursor to the world wide web), Perry resurfaces both an overlooked early digital art movement—predating net.art by a decade—and the burgeoning creative networks that founded Canada’s first media and electronic art-focused artist run centres (image: Robin Collyer Cameraman, 1981).
“The sole hallucination I had experienced on my journey to the rumored brink of insanity was one manufactured in the brains of other people: a collective fantasy that a room could be made hazardously quiet.”
, on taking “The Orfield Challenge:” enduring the “thick silence” inside
’s anechoic chamber—the quietest place on Earth—for more than two hours (Weaver lasted for three)
Art in the Age of Machine Learning
A critical examination (and historical positioning) of the use of machine learning across art and new media
“It’s in our DNA to acquire paintings when the paint is still drying—acquire contemporary art when it is contemporary. That continues here: we’re exploring what work a museum can do in the blockchain space
“The problem is that, unlike the moon or Mars, we have no idea how to get there—and that’s a challenge that engineering fixes cannot solve.”
, on why social media is
than rocket science. The American research scientist rebukes Elon Musk’s Space X approach to Twitter and argues that despite R&D efforts that “dwarf the Apollo space program,” social networks struggle with the “dizzying feedback loops and chaotic interactions” between users that are impossible to model, let alone control.
American software artist
Everest Pipkin releases The Barnacle Goose Experiment, an “abiogenesis body horror idle clicker” where you play as researcher Dr. Evergreen G. Branca locked in a biodome and tasked with generating a working world with objects, music, and living things out of her own body. The browser game is inspired by the medieval barnacle goose myth that had people, then unaware of bird migration patterns, believe that geese emerge fully-formed from barnacles.
“A premature extinction event occurs before we’ve flooded the universe with ‘value.’ We, then, shouldn’t spend money on global poverty: those resources should instead go to ensuring that we realize our ‘longterm potential.’”
– Philosopher and author
Émile P. Torres
, parsing the moral bankruptcy of
, an ideology espoused by, for example, crypto fraudster Sam Bankman-Fried, who claimed to “get filthy rich, for charity’s sake.”
“Unsupervised,” a solo show by artist
Refik Anadol opens at New York’s MoMA. Working with the metadata for the museum’s 130,000 artworks, the Turkish-American artist’s eponymous AI model (image) fluidly morphs through the latent aesthetic space of the collection. Viewers revel in flowing transitions between myriad possible artworks, the experience subtly intensified by camera, microphone, and local climate data-informed real-time interactivity, tweets Anadol.
“Paid in attention, the critic becomes captured by their audience and prioritizes subject matter that maximizes attention, retains or pleases an existing audience, and does not jeopardize their reputation.”
’ Caroline Busta & Lil Internet, schematizing how the attention economy has (largely) eradicated substantive art criticism, during their
The Future of Critique
keynote at Bundeskunsthalle in Bonn, Germany
The U.S. Food and Drug Administration (FDA) clears “slaughter-free” lab-grown chicken by California-based
Upside Foods (image) as safe for consumption. The approval caps a decade of research to bring lab-grown meat substitutes to market, in hopes of reducing both factory farming’s carbon footprint and the cruelty of industrialized poultry production. “Now we shift focus towards what really matters in this industry, which is scale up,” says Good Food Institute scientist Liz Specht. Load More
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