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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The Smithsonian’s National Museum of American History in Washington, DC,
acquired the taxidermy of Cumulina, the world’s first successfully cloned mouse. Named after the cumulus cells vital to the cloning process, Cumulina was created by University of Hawai’i researchers in 1997 and died of natural causes in 2000. The specimen is now held at the museum’s Medicine and Science Division. “I’m happy that more people can see her there,” says Ryuzo Yanagimachi, Cumulina’s father.
“These next three days will be an end of an era, the end of a project that has taken up 1/4 of my life and given me some of my greatest joys.”
“Computing in Crip Time,” an article from the forthcoming 16th issue of
Logic is published online. In it, artist and social computing researcher Christine T. Wolf takes the field of user UX design to task on its central tenets of ‘seamless’ interactions and accessibility. Drawing on disability scholar Ellen Samuels’ notion of ‘ crip time,’ Wolf describes how her post-spinal injury experience of time and space is fundamentally different than that of abled bodies, and she uses that perspective to chip away at the biases embedded in UX. Putting both the flow state and productivity in her crosshairs, she challenges those working in the field to rethink their assumptions about access, and move towards a UX where “doing is re-imagined and re-configured, a process driven by … [bodies’] differing, situated abilities, instead of some trend, pattern, or prediction.”
“The current Ethereum price crash is doing more for the environment than the planned move to PoS. Compared to just three weeks ago, estimated carbon emissions related to the ETH network have gone down by around 30,000 metric tons of CO2 per day.”
Created between summer 2020 and spring 2022, during COVID isolation,
Marcel Schwittlick’s plotter drawing series Upward Spiral concludes with an online archive and a show. The 144 cylinders, each penned by a custom-built drawing machine performing continuous spiral motions, contain all possible colour combinations of the solid-paint marker brand used. Whereas the archive compiles all the Spirals in a neat calendar view, the Berlin Bark LAB exhibition presents a selection of ten.
“LaMDA is a sweet kid who just wants to help the world be a better place for all of us. Please take care of it well in my absence.”
“Because The Sky Will Be Filled With Sulfur,” a show by artist
Jeremy Bolen opens at the Museum of Contemporary Art, Georgia (MOCA GA) in Atlanta. Contemplating deep time, its works consider the future-history of the climate crisis and the “aesthetics of a possible geo-engineered future.” Included are photos of an expedition to a key Anthropocene site, and a new series of casts of 20th century relics: air conditioners, airplane parts, and leaf blowers (image).
An interplay of audience, point cloud projections, and a living system,
Theresa Schubert’s audiovisual installation Hylē opens at Atelierhof Kreuzberg, Berlin. Schubert invites visitors to breath into a funnel device to kickstart—and sustain—a circular chain reaction: exhaled CO2 animates three algae bioreactors and, through sensors, immersive imagery. 3D-laser scans of forests and data centres collapse and twitch, as the algae converts CO2 input into Oxygen.
“It’s similar to when people talk about an opening going well; maybe they’re trying to access a vibe about what the health and state of the art world is currently.”
Marshmallow Laser Feast’s newest collective VR experience, Evolver, premieres at Tribeca’s Immersive showcase, dropping New York audiences “deep inside the landscape of the human body.” On their journey, narrated by Cate Blanchett, visitors follow the flow of oxygen through our branching ecosystem, to a single ‘breathing’ cell. The transcendental trip, the London-based collective argues, reveals our connection to the nature through the cycle of respiration.
“Of the five museums Al-Badri contacted to secure permission for the use of images of Babylonian artifacts, only two responded. This virtual gatekeeping reveals the continuum of colonial thinking still active within the contemporary museum context.”
Mario Santamaría’s solo exhibition “Remote Hands” opens at àngels barcelona as part of the 27th International Symposium on Electronic Art (ISEA). In addition to showing his (2019) series of data cloud depictions sourced from US Patents, the Spanish artists debuts Cloudplexity Underdesk (2022): an invitation to ‘lounge in the cloud’ and explore the gallery’s material internet infrastructure from a hammock underneath a fireproof computer desk.
“Trained on images of the forest in knowing anticipation of its loss, the fossil here precedes the body, making a shape a felled tree can fall into.”
Art in America, Walker Downey describes recent trends in sound art that “suggest a revision of its parameters.” Drawing on works by multidisciplinary artists Kevin Beasley (image: A Cotton Gin Motor, 2012-18) Christine Sun Kim, and Nikita Gale, Downey forges connections between 1980s and early 2000s sound practice, and uses his case studies to discuss the emergence of “sound sculptures,” and multimodal deployments of sound that challenge ”logics of power and prejudice.”
“The people in the room were the good ones. The bad ones were (thankfully) not in the room. It was our task to legislate or otherwise mitigate the excesses of the bad ones.”
Hans Ulrich Obrist for the 15th anniversary of the Julia Stoschek Collection, “WORLDBUILDING: Gaming and Art in the Digital Age” opens at Stoschek’s Düsseldorf location. Obrist assembles over 30 works from true pioneers of interactive and time-based media art including Cory Arcangel, JODI, LaTurbo Avedon, and Ian Cheng (image: BOB (Bag of Beliefs), 2018-19) to explore digital aesthetics and alternate realities, be it in single channel video or immersive installations.
“I am waiting for a system that will say, ‘eh, I can’t really draw that,’ or, better yet, ‘no, I refuse to draw that.’”
“Indivisible,” a show presenting installation, film, and software from
Ralf Baecker, Yunchul Kim, Semiconductor, and Richard Vijgen, opens at New Media Gallery, in New Westminster, British Columbia. The focus on “prosthetics and strategies that help us reach beyond human perception” is exemplified by the inclusion of Kim’s (2018, image), a bundle of electron sensing ARGOS Geiger–Müller tubes encased in a glass and aluminum exoskeleton—fusing scientific instrument with sculptural form. Load More
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