1,579 days, 2,409 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 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.”
–
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.”
–
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.”
Examining the post-truth moving image, the online program “True Fake: Troubling the Real in Artists’ Films” launches. Programmed by Lukas Brasiskis , the series includes historically signicant works exploring “unstable boundaries between fact and fiction, nature and artifice, objectivity and subjectivity.” The program features Sondra Perry , Laura Poitras , Forensic Architecture , and other key figures (image: Harun Farocki ’s Parallel II and Parallel III , part of his 2014 survey of ‘open world’ games). A total of five thematic programs—20 films in total—will be available sequentially through Apr 19.
DOSSIER :
“If I have any allegiance with respect to the future of the planet it is not particularly with humans—it is with the manifold ways in which life produces intelligence, beauty, and sociality.”
– Scholar
Geoffrey C. Bowker , on human exceptionalism and our “impoverished language for thinking about interconnections” that ignores that symbiosis occurs across all life
“I was front row to a fungal safari. There were invisible exchanges—infestations—happening without my knowledge or consent.”
–
Zoë Schlanger , journalist and science writer, on the wonders of at-home mycology (i.e. growing oyster mushrooms in her kitchen) and why “watching something busily transform trash into fleshy, sculptural fruit is a comfort”
“A broadly told story is that Kante was rankled over a daily paper article by a Lebanese correspondent comparing African dialects to ‘those of the birds, impossible to transcribe’.”
– Designer
Tapiwanashe S. Garikayi , on the origins of the
N’Ko writing system Solomon Kante invented in 1949 and that Garikayi is currently reconstructing as an OpenType font
“Stranger Dreams” opens at Mains d’Œuvres, Saint-Ouen, Paris, presenting works by 13 media artists including Memo Akten , Caroline Delieutraz , Dasha Ilina , and Sabrina Ratté that explore how nascent technologies feed the subconsciousness—all “while we slowly slide into dystopia.” Ilina’s pillowcase embroidery, for example, asks Do Humans Dream of Online Connection? (2021, image) and was created especially for the exhibition during a residency.
“We will always choose a lesser home-brewed tool tailored specifically to our own needs, over a better generic tool that we have not built and do not understand.”
– Nomadic programmers
Hundred Rabbits , describing the DIY ethos behind their software (image: the duo’s livecoding “procedural sequencer”
Orca )
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