1,369 days, 2,175 entries ... Newsticker, link list, time machine: HOLO.mg/stream logs emerging trajectories in art, science, technology, and culture––every day
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“It wasn’t that long ago that we were designing cooling systems for a peak outdoor temperature of 32 degrees. They’re now over 8 degrees higher than they were ever designed for.”
Researchers create the world’s first synthetic embryos—no sperm, eggs, or fertilization required. Molecular Geneticist
Jacob Hanna and his team accomplished the feat by reprogramming stem cells from mice back to a naïve state, and simulating a placenta’s blood and oxygen requirements with a nutrient solution; the cells self-assembled into embryo-like structures with an intestinal tract, a proto-brain, and a heart. “Our next challenge is to understand how stem cells know what to do,” says Hanna.
“Entangled: bio/media” opens at Shanghai’s Chronus Art Center (CAC), exploring “the biophilic properties of artificial intelligence, electronics, algorithms, and informatics” in a group exhibition. Unveiled progressively in thematic chapters, eleven works by
Ani Liu, Shuyi Cao, Etsuko Yakushimaru, Yunchul Kim, Xu Haomin ( Rootless Tree, 2022), and others narrate a parable of “co-naturality” (see Eugene Thacker’s ) and “all beings comingling and co-existing in symbiosis.” Biomedia
N∰menon, an installation by Melle Nieling and Amelie Mckee opens at Künstlerhaus Dortmund. Produced during a Plicnik-Collective summer residency at the German venue, it consists of a series of apparatuses intended to draw attention to the lack of a user. Drawing on video interviews that describe a mysterious event with spiritual and economic resonance, the spartan scene stokes “feelings of paranoid threat, in which the unknown opens the imagination.”
“I struggled to finish the last works of my show because I had burnt out just having to be online all the time. I can barely open my computer screen right now.”
Bob Bicknell-Knight’s solo exhibition “Non-Player Character” opens at Galeria.Kollektiva, Kassel, linking NPCs in videogames and controlled existence in a hyper-capitalist, technocratic world. Expanding on the titular CGI film, a new commission and the show’s centrepiece, the British artist presents a series of hybrid paintings featuring NPC quotes from iconic games, 3D-printed sculptures of useless inventory items, and an interactive graveyard to mourn the “digital deaths” of NPC companions.
“Paired together, you’d have nearly a whole kilowatt of power being sucked up by just the processor and graphics card. Everything else will absolutely push this system over the 1000W line.”
Concluding her PlatteForum residency,
Raquel Meyers’ solo exhibition “Concrete Redundancy” opens at the Denver urban art laboratory. Meyers, a Spanish artist known for her work with obsolete technologies, organizes artifacts created with typewriters, teletext, and fax machines into “techno-rubble”—a tribute to Denver7’s soon-to-be-demolished brutalist landmark. “Concrete Redundancy is a tool for the struggle,” the exhibition text states, “an Anthropocene souvenir for the future.”
“What if Vera had decided thirty years ago that her art wasn’t selling enough or being shown in the right places and had stopped creating? It would have been a tragic loss for all of us.”
Mouse on Mars (MoM) performs using (2021, image), as part of “Technobodies,” a program across Munich venues ROBODYNAMIC DIFFUSION: RDD Lenbachhaus, Haus der Kunst, and Museum Brandhorst. Jointly developed by MoM’s Jan St. Werner, Michael Akstaller, Nele Jäger, and Oliver Mayer, RDD is a directional speaker bot that projects sound in a tightly focused beam, creating opportunities to induce “controlled disorientations and sensory redirections” in audiences.
“I recently mounted a section of tracking to the ceiling of my home studio so I could be hoisted out of my wheelchair to reach heights and canvas sizes I otherwise wouldn’t be able to access.”
Exploring how medicine and shamanism can begin to blur into one another, “Post-Human Narratives—In the Name of Scientific Witchery” opens in Hong Kong. Featured artists include
Betty Apple, Mayumi Hosokura, and Yu Shuk Pui Bobby, with contributed works ranging from Liv Tsim’s biomatter fabrications (2022, image) to Florence Lam’s Zirca, an extremely witchy performance about channeling energy—applying so much of it to materials that they produce light.
“At some point, we’re amassing all this computing power at the consumer level for the sake of amassing this power because we can. Then we just go and use it to stream Netflix.”
“Large language models make me think of the profound experience of seeing the earth from space. Maybe AI is the overview effect for humanity. Maybe writing
without a computer’s-eye view in this networked world is blinkered or even selfish.”
Adam Pickard tweets an AI reimagination of Charles and Ray Eames’ iconic short (1977). The film depicts the relative scale of the universe by order of magnitude based on a factor of 10, first zooming out from Earth, then in to a sub-atomic level. Whereas the filmmakers (masterfully) mixed footage and illustration, Pickard had OpenAI’s Powers of Ten DALL-E 2 meditate on 57 text prompts—which are included—and apply the new inpainting feature to fill the gaps.
“The robot broke the child’s finger. This is of course bad.”
Perhaps the first bike-friendly indoor exhibition (cyclists can enter via a ramp), “bike in head” opens at Städtische Galerie Bremen, Germany. Rather than focus on the aesthetic object, included works by
Wolfgang Zach, Anne Krönker, Kosuke Masuda, Aram Bartholl and others shift attention to the bicycle’s entanglement with society and self. Bartholl’s (2020, image), for example, stages tossed rental bikes recovered from the bottom of the Spree river. Unlock Life
“Journalists were actually actively looking for the contrarians. It was really feeding an appetite that was already there.”
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