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“CAMP After Media Promises,” the 7th Nam June Paik Art Center Prize Winner’s Exhibition opens in Gyeonggi-do, South Korea. To celebrate their recognition CAMP ’s Shaina Anand, Ashok Sukumaran, and Sanjay Bhangar present Moving Panorama (2021, image), an urban megamix spanning eight screens and five acts. Drawing on CCTV footage from their native Mumbai, Manchester, Jerusalem, and Kabul, the installation ”redefines the categories of observer, subject, network, database, image, and sequence.”
“Perhaps, there is more common ground between the hackers and the witches, the programmers and the psychics. As Tolbert put it: ‘What is technology, if not a way for an individual person to uncover answers?’”
NASA’s Double Asteroid Redirection Test (DART) launches aboard a SpaceX Falcon 9 rocket at Vandenberg Space Force Base in California. An experiment in planetary self-defense, in fall 2022 the rocket will reach the Didymos asteroid system, impact its moonlet altering the asteroid’s motion—and the results will be observed from afar. ”This test will help prove out one viable way to protect our planet from a hazardous asteroid, should one be discovered that is headed toward Earth,” states NASA’s Bill Nelson.
“Given that MoMA’s 1977 acquisition of Kubota’s Nude Descending a Staircase was their first of a video sculpture, it seems ironic that they waited so long to give her such a modest tribute. That ‘Liquid Reality’ is the artist’s first US solo exhibition in 25 years only adds to this sad testament.”
The Smithsonian ’s 175th anniversary exhibition “Futures” launches at the reopened Arts + Industries Building, displaying 150 objects—iconic collection pieces, industrial prototypes, and art installations—that invite “all dreamers, makers, and change makers” to imagine a better world. Among the touted highlights is architect and artist Suchi Reddy ’s rotunda piece me + you (image), a towering AI (and Amazon) powered light sculpture that reflects “society’s collective conscious.”
OUT NOW :
Sofian Audry
Art in the Age of Machine Learning
A critical examination (and historical positioning) of the use of machine learning across art and new media
DOSSIER :
“There’s much more self-reflection and embrace of doubt in this issue than I’m used to seeing in the art, science, and technology discourse space. Contributors reflect on what systems they are unwillingly contributing to, regardless of their criticality.”
Adam Basanta ’s mixed media installation “Possible Futures” opens at Maison des Arts de Laval in Laval, Quebec, confronting viewers with three “oblique thought-experiments” comprised of discarded domestic objects, biological and artificial ecosystems, and techno-cultural artifacts. Future balanced (Chesterfield) , for example, combines a discarded sofa with a miniature, fully-functioning, aquaponic farm. It’s a living sculpture that makes “tentative proposals and uneasy predictions.”
“Clickbait actors cropped up in Myanmar overnight. With the right recipe for producing engaging and evocative content, they could generate thousands of US dollars a month in ad revenue, or 10 times the average monthly salary—paid to them directly by Facebook.”
–
Karen Hao ,
MIT Technology Review ’s senior AI editor, on how Facebook and Google not only amplify but fund disinformation
Infiltrating Ender Gallery ’s Minecraft server with his generative image systems, American artist Travess Smalley turns the in-game exhibition space into “a surreal reading experience” via a custom texture pack. Developed during his residency, “Change Language Resource Pack” replaces all images and textures with randomly generated language, resulting in “a concrete poem, that turns the familiar Minecraft world into an abstract, austere, and newly dangerous place (be careful identifying lava!).”
In an attempt to become the “Singapore of Latin America,” President Nayib Bukele announces El Salvador will bootstrap an entire city around Bitcoin’s economic prospects. Building on the country’s recent recognition of the leading cryptocurrency as legal tender, the so-called “Bitcoin city” will be located along the Gulf of Fonseca near the base of Conchagua volcano , the geothermal energy of which will be harnessed to power the city and an industrial-scale Bitcoin mining operation. Honouring the libertarian ethos that is common amongst Bitcoin-boosters “the city will have no income, property, capital gains, or payroll taxes.”
Laura Splan ’s Rhapsody for an Expanded Biotechnological Apparatus takes over an elevator of the Tang Museum in Saratoga Springs, NY, as part of the museum’s Elevator Music Series . The tactile sound installation “reenvisions the elevator as a biological cell and its visitors as proteins.” Sitting on a rug made from the fiber of laboratory llamas (used to produce antibodies for human drugs) they are invited to “consider the invisible” while listening to a sonic tour of a biotech laboratory.
“Data Refraction_Digital Orchestra,” a solo show by Jung Seung , opens at Seoul’s Alternative Space LOOP. Centring the media artist’s preoccupation with digital traces, it includes three new works: a sonification of plant growth, a robot animated by related data, and a performance of a dancer in a “wearable robot” beamed into a digital environment (image: Scattered Scream-harness , 2021). Collectively they “redefine life through the coevolution between human senses and machines,” notes curator Sun Mi Lee.
OUT NOW :
The Field Guide to Digital and/as Public Space
Toronto foresight studio
From Later and
The Bentway team up to explore place making, people, and protocols
Lauren Lee McCarthy ’s latest interactive performance Womb Walk premieres as part of her Surrogate installation at IDFA DocLab , the Amsterdam documentary film festival’s new media program. As the American artist strolls the city wearing a prosthetic belly (image), participants ‘become’ McCarthy’s baby. “You control my movements by triggering small internal kicks to the sides of my belly directing me when to turn,” she writes on Instagram . “Together, we navigate the city, with imagined baby as interface.”
“The science is now clear that decapods and cephalopods can feel pain and therefore it is only right they are covered by this vital piece of legislation.”
– UK Animal Welfare Minister Lord Zac Goldsmith, on the extension of the country’s
Animal Welfare (Sentience) Bill to include lobsters, octopus, and crabs. The bill, however, will not affect any existing legislation or industry practices.
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