1,182 days, 1,854 entries ... Newsticker, link list, time machine: HOLO.mg/stream logs emerging trajectories in art, science, technology, and culture––every day
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“There is only one space currently showing a serious commitment to democratically governed user-owned protocols, fair payment for digital labour, data unions and revaluing the arts, and that is the Web3 space.”
–
Mat Dryhurst , musician, technologist and educator, on why he believes in the blockchain future
The latest in his 4-part series of “phenomenological” environments, Kurt Hentschläger’s SUB
“While efforts to reduce emissions and adapt to climate impacts are the first line of defence, the United States should develop a transdisciplinary research program to advance understanding of solar geoengineering’s technical feasibility and effectiveness.”
– The
National Academies of Sciences, Engineering. and Medicine (NASEM), recommending federal research into climate intervention strategies in a new report
Prolific technology critic, curator, and educator
Nora N. Khan will steer the next HOLO print edition as Editorial Lead
“Just as technology is not politically neutral, it isn’t geographically neutral. In the coming years, I hope we will see more new work that doesn’t just pay attention to the weather, but the soil too.”
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Rahel Aima , art critic and writer, considering the “rocky terroir” of new media art, and the genre’s historical silence towards the extractive tendencies that make it possible
“We realized we had to make our own supercomputer. So we built an AI which runs on custom hardware—/roʊˈdeɪoʊ/ —that looks at the Kim Kardashian: Hollywood game and tries to make sense of what it’s seeing.”
–
Cory Arcangel , on
/roʊˈdeɪoʊ/ Let’s Play: HOLLYWOOD (2017-21), the “
Century 21 ” centrepiece on view at New York’s Greene Naftali gallery. “It originated from a note I made in 2016: ‘Deep Blue playing Kim K game.’ I imagined a huge server that you could see playing the game.”
SHOP :
An illustrated compilation of hybrid creatures of our time, equally inspired by medieval bestiaries and observations of our damaged planet
“We have all taken photos like these—bad lighting, out of focus, glaring flash, poor composition. You know, MySpace.”
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Tobias Revell , pondering the unnerving mediocrity of CGI artist Blitter’s
Mundane Renders (2020)
The Event Horizon Telescope (EHT) collaboration releases the first image showing how light is polarized at the edge of a black hole. The swirling, striated articulations around Messier 87 ’s supermassive black hole map magnetic fields that extend more 100,000 light-years from the object. The imaging resolution required ”is equivalent to that needed to measure the length of a credit card on the surface of the Moon,“ write the researchers.
“You cannot have a discussion about creating new online curatorial spaces on an app that is only accessible for people with an iPhone.”
OUT NOW :
Dora Vrhoci & Florian Weigl
Art and Care
A reflection on the curatorial research behind “To Mind Is To Care,” an exhibition and “interdisciplinary study of care,” shown at V2_, Rotterdam’s Lab for the Unstable Media, earlier in the year
“Like mushrooms themselves, the font changes unpredictably, illustrating how fungi can be both an aesthetic and a methodology for rethinking how images and objects can form and grow.”
Marking their 15th anniversary, Rhizomatiks ’ first major solo show opens at the Museum of Contemporary Art Tokyo (MOT). “Rhizomatiks_multiplex” celebrates the collective’s fluency across mediums, presenting data visualization, stage design and choreography (image: Reframe 2019 , for the pop trio Perfume ), music videos, and installations. Picking up on their preoccupation with how “our bodies oscillate between the virtual and the real,” the exhibition is itself hybrid—an online component augments the MOT programming.
“We’re in the CompuServe age of this stuff. Like, we haven’t even gone to AOL or MySpace or, you know, even Facebook yet in terms of lineages, of how technologies develop.”
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Barry Threw , executive director of
Gray Area , on the transformational potential of NFTs. “It’s an asset bubble, it’s a hype bubble, and it provides some opportunity for artists to have some traction. … [But] it’s a market that’s just as interested in buying memes as it is in buying art.”
“One of the more exciting calls I get as an artist working in the field of new media is for editorial illustration work. It’s rare .” In a Medium post, software artist Zach Lieberman unpacks the cover and secondary artworks he created for this week’s New York Times Magazine . To accompany Kashmir Hill’s deep dive on Clearview AI and face recognition, Lieberman built on an earlier face fragmentation sketch , because “it feels like these companies are building portraits of us that are unsettlingly made from disparate pieces.”
“In South America—especially in the Andean region—the preferred way to store information was in textiles. Pre-Colombian people tied knots in string-based devices to keep records.”
NFT gallery and marketplace Feral File launches with “Social Codes,” a specially commissioned exhibition curated by software artist and Feral co-founder Casey Reas . New works by ten digital artists including Andrew Benson , Anna Carreras (Arrels , image), and Raven Kwok explore software becoming social. Similarly, Bitmark -backed Feral File aims to “establish transparent protocols for exhibiting and collecting file-based art” with the media art community in mind.
“From the beginning, we were trying to make artworks without boundaries. In 2004, before we could realize truly immersive spaces, we displayed artwork using five screens in a row. People could walk around in front of it.”
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TeamLab co-founder Toshiyuki Inoko, on the humble beginnings of the ultra-technologist art collective that has shaken up the world’s experience economy [quote edited]
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