1,725 days, 2,676 entries ... Newsticker, link list, time machine: HOLO.mg/stream logs emerging trajectories in art, science, technology, and culture––every day
Year
Month
Tag
Order
Custom
Filter
Celebrating the Toronto artist-run centre’s 40th anniversary, “Remember Tomorrow: A Telidon Story” opens at InterAccess. Curator Shauna Jean Doherty present vintage works created with Telidon , a short-lived Canadian teletext and videotext service (similar to Minitel ) that saw a wave of early 1980s artistic exploration. Artists including Paul Petro , Geoffrey Shea , and Nell Tenhaaf share original Telidon works (restored by John Durno ) and contemporary digital artist Jerome Saint-Clair joins in.
“The Haring NFTs demonstrate that the smart contract can be a flexible tool, using metadata and code to accommodate the various needs and contexts of digital art.”
–
Outland ’s Brian Droitcour, on Web3 developers
Digital Practice setting a new standard for the blockchain-based sale and preservation of historical digital art. Having learned from the 2021
Warhol NFT controversy , the
forthcoming NFTs of Keith Haring’s Amiga drawings “offer both flexibility and fidelity, encompassing files suitable for display on today’s screens as well as a faithful replica of the original pixels in contemporary code.”
American software artist Casey Reas returns to Berlin’s DAM Projects with “Conjured Terrain,” a solo exhibition of new Untitled Film Stills and Compressed Cinema digital video works set to (and driven by) the electroacoustic soundscapes of German artist and composer Jan St. Werner. Building on a body of images ‘conjured’ from feature films fed to generative adversarial networks (GANs) in 2018, Reas revisits—and celebrates—the raw visual grammar of early machine learning experiments from that era.
“Slapping Pythagoras,” Angela Bulloch ’s first solo exhibition in Korea, opens at Esther Schipper, Seoul. Premiering new works alongside iconic historical pieces (e.g. from the Drawing Machine series), the show manifests Bulloch’s interest in “classical geometry, mathematics, and system theory.” Abacus Tablet (2023), for example, is a new series of glass sculptures that translates the motif of the ancient analogue computing device into an illuminated grid of 25 moveable cubes, waiting for input.
“The Amiga drawings are significant because they were created at the dawn of the consumer computer age. Even then, Keith knew that computers were going to be important to people’s lives as their capabilities continued to advance.”
– Gil Vazquez, executive director and president of
Keith Haring Foundation , on the forthcoming Christie’s
NFT auction of the pop art icon’s pixelations from the late 1980s. “Long stored on floppy disks, the drawings had never seen the light of day—until now,”
Artnet ’s Min Chen writes.
“While the view from above has historically been aligned to an imperial gaze, the use of commercial drones has co-opted this sightline as a part of protest against imperialism and colonisation.”
London-based future connoisseurs Superflux reveal The Ecological Intelligence Agency (EIA) (2023), a speculative proposal for an autonomous inter-departmental government agency that uses localised AI models to align labour, climate and data justice for eco advocacy. Commissioned by the UK Policy Lab and Defra Futures , and shown at “Changing Course” in June, EIA gives voice to fresh water systems to aid decision-making by “making river health sense-able and situating policies within wider contextual ecosystems.”
“Could Richard Spencer getting punched in the face be the new default sample material for image and video processing demonstrations? Only time will tell.”
– American artist
Sam Lavigne , on his bid to make a clip of smug white supremacist Richard Spencer
getting slugged (after the 2017 Trump Inauguration) a default in video processing tests. Contemplating how
Lena Forsén became a standard test image in computer vision contexts, Lavigne muses over using the Spencer clip for demos because it has “colour, motion, a human face, and embraces rather than shies away from the element of pleasure.”
“Among artists, I am the computer scientist, and among computer scientists, I am the artist. What this situation offers is the possibility of direct contextualization of the disciplines.”
– Generative artist and pen plotter virtuoso
Marcel Schwittlick , situating his interdisciplinary practice in conversation with curator
Kristina Miller . Conducted in preparation for the
Unchained: KI, Krypto & Kunst conference at Berlin’s Radialsystem, the exchange explores Schwittlick’s plotter drawings, luminograms, and use of embodied data.
“(Re)connecting.earth (02)—Beyond Water” the second Biennial of Art and Urban Nature opens in Geneva (CH). Building on the 2021 urban gardening theme, water ecologies are foregrounded through programming that activates shoreline Lake Geneva sites. Artists including Marie Griesmar , Carmen Perrin (image: Lignes de fuites , 2023), and Pinar Yoldas present works addressing aquatic biodiversity. Of note: the staging of Life Airborne System (1965) and two 1970s works by Hans Haacke .
“I’m not opposed to satellite imaging, but I’ve been in quite a few climate meetings where people suggested that if only we had more data and better images we’d finally address the crisis. That’s not true.”
– Canadian tech critic, author, and
Tech Won’t Save Us host
Paris Marx , pushing against the notion that better tools like
Satlas , the Allen Institute for AI’s machine learning-powered forest monitor, will lead to climate action. “Our data has been getting better for decades,” Marx argues, “and emissions have kept rising that whole time.”
“Exploring the Decentralized Web – Art on the Blockchain” opens at Basel’s HEK (House of Electronic Arts), concluding the institution’s recent excursion into Web3. HEK’s Sabine Himmelbach and Boris Magrini gather some of crypto art’s finest including Simon Denny , Mario Klingemann & Botto , Sarah Friend , Chloé Michel , Rhea Myers , Operator , Lukas Truniger and others, to lay bare the politics and potentials of the metaverse. Of note: Kyle McDonald’s Amends (2022), a potent eco-critical work that’s on view for the very first time.
“These billionaires purchased 55,000 acres to build their John Galt paradise, but they won’t pay a human artist to design it for them.”
Ottawa’s Artengine launches the CanCon AV Index (CAVI), a search engine that “fences off sections of YouTube,” isolating videos by 500 Canadian arts organizations. Ambitiously, the project team of Ryan Stec , Najeeba Ahmed , Julie Gendron , and Ashlee Conery scraped 33,000 videos (and metadata)—yielding a treasure trove of lectures, artist talks, and panels. Part alt-interface and part data liberation, CAVI rebuts against “optimizing to be machine-readable and playing the algorithm” (i.e. gambling for attention).
SPACE10, IKEA’s design research lab and cultural hub in Copenhagen’s meatpacking district closes doors after nearly a decade of experimentation. Launched in 2014 to explore the future of food, housing, and mobility, the lab grabbed headlines with a variety of innovative prototypes including Tomorrow’s Meatball , Spaces on Wheels , and Urban Village and showed at major institutions. A new website celebrates that legacy, showcasing selected works, and providing access to open-source projects, reports, and guidelines.
“Maybe we can’t literally taste new technologies, but we do metabolize them through our bodies—our senses, nervous systems, psychologies, and undoubtedly our appetites.”
– Writer
Michelle Santiago Cortés , musing over embodied and visceral responses to emerging technology. Surveying discussions about how AI is ‘eating everything’ to the revulsion accompanying an
uncanny valley encounter, Cortés considers how new technology “reaches deep into our stomachs and twists our judgment.”
Continuing research into laser works by its namesake artist, Seoul’s Nam June Paik Center sends a “Transmission.” Featured is Transmission Tower , a work realized with laser expert Norman Ballard that was mounted twice: at the Rockefeller Center (2002) and the Sydney Opera House (2004). Audiovisual artist Jeho Yun re-imagines the stroboscopic choreography alongside an array of Paik’s silver classic cars , “faithfully receiving” the late artist’s signals “and sending them out toward the future,” write the curators.
OUT NOW :
Jay Owens
Dust
Anthropologist
Owens explores the material effects of how capitalism has ground down the natural world “from air pollution and nuclear fallout to desertification, dried-up seas, and melting glaciers.”
Load More
To dive deeper into Stream, please
Log-In or become a
HOLO Reader .
Daily discoveries at the nexus of art, science, technology, and culture: Get full access by becoming a HOLO Reader !
Perspective : research, long-form analysis, and critical commentaryEncounters : in-depth artist profiles and studio visits of pioneers and key innovatorsStream : a timeline and news archive with 1,200+ entries and countingEdition : HOLO’s annual collector’s edition that captures the calendar year in print
Become a HOLO Reader