1,578 days, 2,409 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
“The line between utility, saving one’s market, and wash trading seems to be blurred.”
“The term ‘meatpacking,’ coined in the 1930s, suggests that the life and death of animals wasn’t part of the industry. It’s like electric cars being sold as ‘zero emission vehicles.’”
From October 13–20, HOLO chronicles the “experiments in study, collective learning, and unlearning” conducted within JUNGE AKADEMIE’s AI Anarchies Autumn School at Akademie der Künste, Berlin. A radical pedagogy primer sets the stage.
“I’m afraid a classical studio practice is becoming more and more cynical and irrelevant.”
– Artist and filmmaker
Oliver Ressler , on how the climate crisis—not the white cube—should be top of mind for artists. In conversation with Régine Debatty, Ressler discusses how artists can seek climate justice by working alongside NGOs, local activists, and Indigenous communities.
OUT NOW :
Karine E. Peschard
Seed Activism
An ethnographic study of the patent wars occurring over genetically modified crops in the Global South
“Today Taiwan produces around one third of the new computing power we rely on each year. It produces ninety percent of the most advanced processor chips.”
– Historian and policy researcher
Chris Miller , contextualizing how catastrophic a Chinese invasion of the island country would be for global production. “Entire segments of industry would grind to a halt,” he warns, in discussion with Demetri Kofinas about his new book
Chip War
“*(s)twerH,” a show featuring Canadian artist Andrew Maize’s eponymous experimental drawing lab, opens at MacLaren Art Centre in Barrie, Canada. Exploring “fans, charcoal and aerodynamics to create improvised drawing tools” for years (image: Aerial Chessboard #2 , 2020), the show presents Maize and peers working in-space to generate ephemeral forms via “turbulence, tumult, turmoil, turbine, and storm,” and inviting viewers to participate in the process.
OUT NOW :
Köerner & Martinez (eds.)
Software for Artists Book: Untethering the Web
A compilation of “visions for a flourishing digital multiverse” featuring contributions by
Mat Dryhurst ,
Nora N. Khan ,
Everest Pipkin ,
Mindy Seu , and others
“Despite all the self-mythologizing and talk of building, the men in these text messages appear mercurial, disorganized, and incapable of solving the kind of societal problems they think they can.”
– Writer
Charlie Warzel , on the “unimpressive, unimaginative, and sycophantic” emails and text messages from and to Elon Musk
released as part of the Twitter litigation lawsuit. “Whoever said there are no bad ideas in brainstorming never had access to Elon Musk’s phone,” Warzel writes.
Meriem Bennani and Orian Barki ’s animated series 2 Lizards (2020) opens as an installation at The Whitney. In it, two anthropomorphized CGI lizards channel the artists’ experience of the COVID-19 pandemic unfolding in New York City, “a city gripped by extended isolation, and cries for social justice reform.” Originally released in eight episodes on Bennani’s Instagram , the Whitney show is 2 Lizards ’s first institutional screening as a narrative film.
“Metrics are dark pattern trash, responsible for amping up much of what’s toxic around here. Rest assured, if they release it to all, I’ll hide it with my Demetricator .”
– American software artist
Ben Grosser , on Twitter testing a visible ‘views’ metric feature. Grosser, whose work focuses on the social effects of software, has been a vocal critic of the toxic social media engagement game for years. His
Twitter Demetricator (2018) browser extension hides all metrics on the platform—for good.
OUT NOW :
Buozyte & Samper (dirs.)
Vesper
A fable about the aftermath of ecological collapse, centred on a 13-year-old girl’s resilience and biohacking skills
What Just Happened :
Maarten Vanden Eynde Encapsulates Human Fallibility for the Ages
The Belgian artist provides insight on his current solo show, grappling with history, and ‘skipping the apocalypse’
“The AI system renders all text as gibberish, but then again Jenny Holzer’s text nowadays is becoming harder and harder to read.”
–
Hyperallergic ’s
Hrag Vartanian , comparing views of Jenny Holzer’s current “
Demented Words “ exhibition with an uncanny
DALL-E interpretation of the gallery’s press release. “It could easily be mistaken for the work of Holzer,” Vartanian notes about the machine rendering, “maybe one that ‘questions legibility and our ability to read without understanding …’—sorry, I couldn’t resist.”
“Imitation is the sincerest form of flattery, says Oscar Wilde. Does that count for AI models that create music in the style of Chopin?”
After its recent site-specific debut at Tieranatomisches Theater, Berlin, the online component of Rachel Rossin ’s transmedia narrative THE MAW OF (2022) launches on Artport , the Whitney Museum’s portal for internet art. Co-commissioned by Berlin’s KW Institute , the Web and AR experience follows a ghostly female figure navigating a landscape of cyborgian codes and prosthetic symbolism that is directly inspired by Rossin’s research into brain-computer interfaces.
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