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
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Known for inventive hardware hacks, Swedish musician and self-professed ‘mad engineer’ Linus Åkesson debuts his Commodordion : an 8-bit accordion made from two Commodore 64s . Both run QWERTUOSO , Åkesson’s programmable SID chip synthesizer, played via computer keyboard. As with a real accordion, the sounds are triggered by the bellows (that Åkesson improvised from 5 ¼ floppy disks): a sensor measures air flow as the virtuoso plays.
“Symbionts: Contemporary Artists and the Biosphere” opens at the MIT List Visual Arts Center in Cambridge. Featuring Jes Fan , Jenna Sutela , and Anicka Yi , and 11 other artists that reveal the “interspecies entanglements” that shape our world. Contributed works range from Špela Petrič’s poetic shadow study Confronting Vegetal Otherness: Skotopoiesis (2015)—cast on germinating cress—to Candice Lin’s “communal piss” fungal sculpture Memory (Study #2) (2016, image).
An output of the STARTS4Water art-science research initiative, “Faces of Water” opens at Bozar Brussels. Featuring works by Haseeb Ahmed , Anna Ridler , Theresa Schubert , and Joshua G. Stein , each artist highlights different water challenges from across Europe. For Schubert’s Glacier Trilogy—Part 1 (2022, image), for example, the artist mused about how glaciers “embed information” (radiation, pollution, organic matter)—her video installation mourns their replacement with a “synthetic archive.”
“In everyday life, 13 is less common than 12. There’s no 13th month, 13-inch ruler, or 13 o’clock.”
– Sociologist Barry Markovsky, explaining how “sense of anomaly” can contribute to the irrational fear some people have of the number 13 (a phobia not so commonly referred to as
triskaidekaphobia )
“Terms & Expectations,” a group exhibition curated by Barbara Cueto & Bas Hendrikx , open’s at Toronto’s InterAccess. Focused on “distribution centres as agents within our natural environment,” the show hones in on critical infrastructure that underpins platform capitalism (e.g. the ubiquitous Amazon fulfilment centre). Featured are artists including Hiba Ali Simon Denny , Sophia Oppel , and Coralie Vogelaar , contributing works in mediums ranging from installation to performance.
“They’ve contributed $73 million through June 30th of this year. That’s more than the oil and gas industry has put into politics, more than defence, and more than the transportation sector.”
– Campaign finance reporter
Bill Allison , explaining how high-net-worth individuals from the crypto space (e.g.
Sam Bankman-Fried ) are U.S. midterm election megadonors. “They’re really focusing on Congressional races, and trying to influence the outcome of those races,” he continues, predicting industry friendly regulation in 2023.
The first retrospective of the late German artist’s five decade career, “Walter Giers: Electronic Art” opens at ZKM Karlsruhe . Initially producing kinetic and op art, Giers began referring to his works as elektronische spielobjekte (electronic playthings) in 1974. The show offers a broad survey of his light and sound sculptures, and his signature exposed circuits (image: Kunst Macht Nature , 1979), which let viewers get up close and personal with the materiality of electronics.
“I dunno exactly who wrote the headline for my column this week but give ’em a raise.”
–
Toronto Star tech and culture columnist
Navneet Alang , giving props to the heroic unknown editor that titled his
commentary on Meta’s latest VR developments. The headline: “Mark Zuckerberg’s Dream for the Metaverse Doesn’t Have Legs”
“Evolution,” an exhibition held within the ArtVerona art fair curated by Domenico Quaranta , opens in Verona, Italy. Featured artists include Matthew Attard , Léa Porré , Quayola , Marco Strappato , and Xenoangel (image: Bless the ghosts that bring the winds , 2022), contributing works focused on topics ranging from the machinic gaze to extractivism. Reflecting on the show’s title, the Italian curator writes “evolution means hybridization, adaptation, learning from nature.”
“I don’t have the level of knowledge of the classics as someone like Ezra Pound did, obviously. But I do know about Bonk’s Adventure , Sonic the Hedgehog , and Saturday morning cartoons.”
– Digital artist
Jon Rafman , contrasting the sprawling breadth of videogames and pop culture contemporary artists draw from versus the narrow canon referenced by modernist novelists and poets (like
Pound ). “But I
do also know a little about Shakespeare and Chaucer,” the Canadian artist adds.
“Transpositions,” the third in a series of exhibitions exploring the relationships between textiles and technology, opens at Hamilton, Canada’s Centre[3] for Artistic and Social Practice . Curated by Nicole Burisch , Emily Herman (image: Echo (Sabin) , 2019), Marisa Gallemit , Tong Zhou Lafrance , and Caroline Monnet contribute textile-based works made from unconventional materials (stripped cables, air barrier membranes, etc.) that repurpose (and reimagine) “networks of circulation.”
“The aim of immersion in possible futures is to break the imaginative gridlock we find ourselves in, when left to navigate our feelings with mere data and numbers. We want to evoke in people the hope that lies beneath the anxiety: that we are more resilient and able than we are led to believe.”
–
Superflux’s Anab Jain and Hanna Sarsa, on their goals when depicting
possible climate futures
“The role of the digital exhibition is not to imitate its physical counterpart. Digital art and its exhibitions exist to examine the affordances of their endemic space.”
DOSSIER :
AI Anarchies Autumn School co-curators Maya Indira Ganesh & Nora N. Khan share what inspired their imminent “experiments in study, collective learning, and unlearning” at Akademie der Künste Berlin. “The anarchic is not a point of arrival, but a search for practices of memory, body, collectivity, and other logics that can also sustain our hybrid selves,” writes Ganesh.
“The microphones can be used to detect loud noises such as shattering glass if the phone is aware it’s in a driving situation. The on-board barometer can even detect a pressure spike of airbags going off.”
–
Hackaday Staff Writer
Lewin Day , explaining how new Apple devices’ built-in crash detection capabilities go beyond GPS monitoring, after
reports that rollercoasters (and other benign events) are triggering false-positives—alerting authorities and loved ones
“Ghost 2565: Live Without Dead Time,” a survey of moving images and performance that resonates with its host environs’ “phantasmagorial city” status, opens in Bangkok. A follow-up to 2018’s Ghost:2561 , the Christina Li-curated program features artists including Meriem Bennani , Revital Cohen and Tuur Van Balen , Özgür Kar (image: DEATH , 2021), and Diane Severin Nguyen , sharing works that playfully probe and blur “subjectivities, untold stories, and shared visions.”
“If you want to talk about feeling burned out… you can say you’re lying flat.”
– Reporters
Meaghan Tobin and
Katherine Lee , illustrating how Chinese citizens use puns to get around social media censorship. “Lying flat,” for example, is used by young people to refer to “opting out of participation in the hyper-competitive cultures of work and school,” the two write. “This trend has been in response to intense working hours, a widening wealth gap, and a Sisyphean experience of being locked into meaninglessness.”
Damien Hirst starts burning hundreds of artworks corresponding to his 10,000 piece NFT collection The Currency after some 4,851 collectors chose to keep their digital asset instead. Launched in July 2021, investors were given a year to decide which to hold—its counterpart would be destroyed. “People think I’m burning millions of dollars of art but I’m not,” Hirst commented on Instagram. “I’m completing the transformation of these physical artworks into NFTs by burning the physical versions.”
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