1,182 days, 1,855 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 turns out my release of six CryptoArt works consumed in 10 seconds more electricity than the entire studio over the past two years.”
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Joanie Lemercier , on the staggering environmental cost of crypto art. In an impassioned op-ed published on his website, the French artist slams leading market platforms for inaction and a lack of transparency and calls for a crypto art boycott until the issue is addressed. “The first platforms to solve this issue will lead the community,” he writes, “and drive artists, collectors away from the irresponsible, non-ethical ones.”
Enjoying a productive ’retirement’ after its contribution to the Dark Energy Survey , The Dark Energy Camera (DECam) has captured one of the deepest images ever taken of Messier 83 , a barred spiral galaxy nicknamed the Southern Pinwheel that is 15 million light-years away (i.e. our next door neighbour) in the southern constellation of Hydra. “Six different filters … and 163 DECam exposures, with a total combined exposure time of 11.3 hours, went into creating this portrait,” the researchers reveal.
“When a curator kept demanding to hear the artist speak, she just got on and said ‘none of us have any capacity left to perform 24/7’ and then left the room.”
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Addie Wagenknecht , sharing a telling exchange from a recent
Clubhouse chat. “That was maybe the most seen I’ve felt in the last year.”
“The grid is culture: stodgy in spots, inventive in others. It is everything that binds us and separates us. It propels us forward until it stops us cold.”
”Point of View,” the first European survey exhibition of intervenionist artist Angela Washko opens at STUK, Leuven (BE). The show includes Heroines with Baggage (2011) and The Council on Gender Sensitivity and Behavioral Awareness in World of Warcraft (2012)—pre-Gamergate exposes of misogyny in gaming—as well her forays into the odious world of pickup artists. The latter theme emerges in BANGED (2015) and The Game: The Game (2018, image) where Washko interviews Roosh V , and explores the ”tactics and practices” of the pickup community in a dating simulator.
“There is a tendency in some technologically engaged art to reveal the computational processes in order to deliver some truthfulness in the resulting artwork, supposedly. I never cared for that.”
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Nicolas Sassoon , interviewed by Alison Sinkewicz about a series of “visual and imaginary interfaces between minerals and hardware” shown in his latest exhibition, “
Subterranea ,“ at Galerie Charlot, Paris
OUT NOW :
Sherryl Vint
Science Fiction
A concise survey of how the genre of science fiction serves as a tool for understanding and living through rapid technological change
“There is the sense of witnessing a private, secretive, and interior process, yet one contrasted by the vast exterior of open-source images on which it feeds.”
– Critic
Forrest Muelrath , on the “disturbing, hallucinatory” scenes on view at Casey Reas and Jan St. Werner’s
bitforms gallery exhibition. “Alchemical” builds on Reas’
Compressed Cinema series, in which a carefully trained GAN model reimagines a corpus of feature films. “It’s not quite dream imagery,” writes Muelrath, “more like unconscious thoughts before they can be articulated.”
Arts at CERN announces Philadelphia-based artist duo Camae Ayewa and Rasheedah Phillips known as Black Quantum Futurism are winners of the 9th Collide Residency award. Explorers of intersectional futurism and alternative temporal lenses, Ayewa and Phillips will be embedded at CERN this summer to extend their research and produce a new artwork based on their “CPT Symmetry and Violations” proposal. “The project seeks to understand the possibilities that quantum physics offers beyond the limitations of traditional, linear notions of time,” explain the artists.
“I think there should be no such thing as billionaires and that Space is a commons and a place for the public good, where civilization at large does its work through its governments to try to protect Earth’s biosphere … it doesn’t work, to make a profit in space.”
True to form: after a tweet by Youtube celebrity Vsauce sporting one of David OReilly ’s meme shirts spawned countless fakes, the CGI artist trolls back with a special commemorative shirt
“I’m trying to draw a parallel between the way data is understood and how artists who made landscape images in the nineteenth century were selective—and omissive—in order to propagandize notions of progress and ‘greatness.’”
Joanie Lemercier ’s “Lightscapes” opens at Espacio Fundación Telefónica, Madrid. The video mapping connoisseur’s first major solo exhibition in Spain lays out a path through seven audiovisual installations, including classics like Eyjafjallajökull and Fuji , part of Lemercier’s 2010 volcano series, as well as three new pieces. The video projection The Hambach Forest and the Technological Sublime , for example, captures harrowing scenes of environmental crimes perpetrated at Europe’s largest coal mine and how climate activists are fighting back.
“The glint in Cyberpunk 2077 , then, is not simply a lighting effect but an opportunity to relish the sheer quantity of unseen micro-temporal computations, supply chains, research, and labor required to produce it.”
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Hank Gerba , on the elusive gleam reflecting off so many surfaces in ads—and in videogames
OUT NOW :
Nicolas Nova & DISNOVATION.ORG
A Bestiary of the Anthropocene
An illustrated field guide for a post-natural world of plastiglomerates, surveillance robot dogs, and antenna trees featuring 100+ collages as well as texts by Aliens in Green, Benjamin H. Bratton, Anna Tsing, and others
“He enthusiastically asked whether the system might be used to arrange hundreds of thousands of people all across the United States, to make a heart that would be visible from space!”
“We can experiment with scenarios and discuss them at a level that we couldn’t 50 years ago. But our models for governing are still what we had 50 years ago.”
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