" johoka shakai "

Truth and the information society.

Art is a Form of Encryption:

Laura Poitras in Conversation with Lynn Hershman Leeson | PEN America

[ cover image : Courtesy Lynn Hershman Leeson ]

https://pen.org/interview/laura-poitras-conversation-lynn-hershman-leeson

Long before the digital revolution and virtualization of identities became part of our everyday lives, American artist and filmmaker Lynn Hershman Leeson created surrogate personas and investigated issues of surveillance, interfacing of humans and technology, and media as a tool to counter censorship and repression.

LP: People have always used encryption. That is one of the goals of encryption, how to communicate privately. I think art is in a kind of different category, because it is communication with the desire to express something more openly. Or perhaps it is communicating some kind of different emotion. It is a translation, or a type of communication that is not based on a set language...

Lynn Hersham Leeson: "her pioneering use of new technologies and her investigations of issues that are now recognized as key to the working of our society: identity in a time of consumerism, privacy in a era of surveillance, interfacing of humans and machines, and the relationship between real and virtual worlds. [source: http://www.furtherfield.org/features/interviews/woman-art-technology-interview-lynn-hershman-leeson]

still from Tania Bruguera—A State of Vulnerability https://vimeo.com/162320175#t=600s

"...I think the goverment did a piece for me..."

Her latest work explores censorship and vulnerability in the work of artist Tania Bruguera. "Documenting the personal and emotional fallout of Bruguera’s unjust detentions, Hershman Leeson’s new film Tania Bruguera—A State of Vulnerability observes the artist’s sessions with psychiatrist Dr Frank Ochberg, one of the founding fathers of modern psycho-traumatology who helped first define Post Traumatic Stress Disorder. An intimate and profound discussion of family disorders and cultural trauma emerges as the film touches on the various ways in which censorship of both the family and society have come to shape Bruguera’s aesthetic." [source: http://www.lynnhershman.com/film/]

Screen Shot 2016-08-27 at 12.38.39 pm

SoundDome.Org - SoundDome16

http://www.sounddome.org/sounddome16

SoundDome: Composing with Space

"What makes your heart sing? For me, and for the other members of SoundDome.Org it is the point of intersection between sound, technology, and space. The sound dome brings to life an extraordinary three-dimensional sound world previously conceivable only in the imagination of the composer."  Dr John Coulter Managing Trustee

Matt Mullican: Beyond the Planetarium

• • "I went from being surrounded by things—dealing with how we name them and how we experience our environment through naming—to the opposite end of the spectrum: starting with nothing, then calling the objects into being."

—Matt Mullican, "Planetarium"

Planetarium: Matt Mullican

A digital project, part of And Yet It Moves

• Matt Mullican was born in 1951 and currently resides in Berlin. Working in performance, installation, digital technology, and sculpture, and employing tools ranging from hypnosis to cartography, Mullican seeks to develop a cosmological system based on his personal visual and symbolic vocabulary. His work has been exhibited extensively in the US and internationally.

"Planetarium" was commissioned by Triple Canopy as part of its Internet as Material project area, supported in part by the Foundation for Contemporary Arts and the Brown Foundation, Inc. of Houston. Tags: Artist Project | Technology

timeline of 2oth c. art and new media

[click on the image to expand]

http://www.ramakarl.com/website/

Rama Hoetzlein is an interactive media artist and computer scientist working in the areas of knowledge engineering and behavioral systems. I seek to develop the theoretical foundations of new media arts, and to explore the design, limitations, and capabilities of intelligent systems. My goal is to enable convergence between these dynamic digital systems and the processes of physical making, building and interaction. [source:http://www.ramakarl.com/website/contact/]

http://www.rchoetzlein.com/website/artmap/

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art_theory_map1

jon rafman

[vimeo 100324610 w=640 h=360] Mainsqueeze, 2014

Bizarrely beautiful and shockingly real and affronting canadian video artist jon rafman's work redefines the classical notions of surreal in the techno-digital world we live in today. Caught between a sense of longing for the real to be far more than we believe it can be, his works echo to a moment in time when memories somehow intertwine with our future and strangely seem to evade the present. Re-creating narratives from appropriated gaming footage and re-mixed with original video works he plays with the notion of memory (or is it fantasy) through internet-ubiquity, video-game culture and the fracturing of the real by layering voice-over narratives to redefine the visual experience. Mainsqueeze from 2014 seems to deviate slightly from his game fetish parallels. Here he jump-cuts through sub-culture identity issues, selfishness and digital alter-realities and employs a washing machine to possibly act as a metaphor for societies self imploding overload of 'machine-obsession' resulting from our ubiquitous informational visual engagement - or maybe its just a symmetrical observation of the innevitable cycle of life.

" JR: I find the myth of the irretrievable past to be a very fertile tool in art. I’m interested in the Proustian qualities of certain memory triggers, especially in the form of media that one consumes or interacts with as a child. In Sticky Drama I was using nostalgia as a tool—cultural reference points from the 1980s and ’90s function as a common language for those who grew up with them. The use of nostalgia in Sticky Drama is a manipulative device. It is meant to highlight how the aura of these cultural signifiers is always slipping away. In a Benjaminian way, I simultaneously celebrate and mourn its loss". (source: vdrome)

links:

http://jonrafman.com https://vimeo.com/jonrafman http://www.vdrome.org/rafman-lopatin.html

partly via : https://patrkhenry.wordpress.com

Bullshit

https://vimeo.com/thinknice/bullshit! "We live in an age of truthiness. Comedian Stephen Colbert coined the word to describe the Bush administration’s tendency to fudge the facts in its favor.Ten years after the American Dialect Society named it Word of the Year, former president Bush’s calendar is packed with such leisure activities as golf and painting portraits of world leaders, but “truthiness” remains on active duty." ... 

source: http://www.openculture.com/2016/05/how-to-spot-bullshit-a-primer-by-princeton-philosopher-harry-frankfurt.html

sound mirrors

http://www.soundmirrors.org/

http://www.andrewgrantham.co.uk/soundmirrors/

boris groys

[image] http://egs.edu/faculty/boris-groys

In the Flow

by Boris Groys

The leading art theorist takes on art in the age of the Internet

In the early twentieth century, art and its institutions came under critique from a new democratic and egalitarian spirit. The notion of works of art as sacred objects was decried and subsequently they would be understood merely as things. This meant an attack on realism, as well as on the traditional preservative mission of the museum. Acclaimed art theorist Boris Groys argues this led to the development of “direct realism”: an art that would not produce objects, but practices (from performance art to relational aesthetics) that would not survive. But for more than a century now, every advance in this direction has been quickly followed by new means of preserving art’s distinction.

In this major new work, Groys charts the paradoxes produced by this tension, and explores art in the age of the thingless medium, the Internet. Groys claims that if the techniques of mechanical reproduction gave us objects without aura, digital production generates aura without objects, transforming all its materials into vanishing markers of the transitory present.

retrieved from : https://www.versobooks.com/books/2090-in-the-flow

Color Goes Electric

Greener grass, bluer skies: How photography came to capture the world that we want to see, and how our memories have been fashioned by industry.

Color Goes Electric

by Claire Lehmann

Since the 1970s, color photography has entirely saturated the visual landscape: the clean white spaces of contemporary art, the pages of magazines, the screens of computers and handheld devices. The question of the relative vulgarity of the medium seems rather quaint, since theoretical discourses have shifted from concerns about photography’s vaunted “indexicality,” its purported objectivity, its visual codes, to matters of identity construction, surveillance, representational politics, and forensics.

https://www.canopycanopycanopy.com/issues/22/contents/color-goes-electric/

Hito Steyerl / Transmediale Keynote conversation 2016: anxious to act

https://youtu.be/iyEBXewn7ys Hito Steyerl talks decrypting noise signals, filtering systems and the spectrum of human vision ...

How to "detach yourself from objects"

... become a billionaire [link] or ... you can test it out first below ... http://nyti.ms/1rVSFDI

pop pop, pop musik

Infiltrate it Pop, pop, .... wop Activate it

Get up, get down

Radio, video, boogie with a suitcase Your livin' in a disco, forget about the rat race ...

Try some, buy some fee-///// -fo-fum

living in a disco

Now, listen Talk about pop, pop, pop, pop

SCOTT & ROBIn

Artspace article on OOO in the artworld, from April 8

[image] Hugh McCabe - 2014. This is Hills, from Sweden. Find out more about them here.

I have been trying to get my head around François Laruelle and Non-philosophy. Silly me! Of course its pulled me in all sorts of related tangental directions including Ray Brassier (interesting post here by Hugh McCabe: https://tracesofthereal.com on improvisation and "that the free act is not initiated by the self, but somehow self-determining in itself." (great photos too!) and the hot topic of speculative realism and Object Oriented Ontologies otherwise known as OOO in the art-world (linked article by Dylan Kerr below). Retrieved from Object-Oriented Philosophy by Graham Harman.

(http://www.artspace.com/magazine/interviews_features/the_big_idea/a-guide-to-object-oriented-ontology-art-53690).

the day after

the-day-after

the day after never seems to end . an endless loop . a repeat . a clone . the day after never seems to end . a copy . the day after never seems to end . a loop . a repeat . the day after never seems to end . a copy . yesterday . a replica . today . tomorrow . infinity . a repeat . the day after never seems to end . an endless loop . a repeat . a bounce . the day after never seems to end . a copy . the day after never seems to end . a carbon-copy . a repeat . a repeat . a clone . the day after never seems to end . a mimeograph . a copy . yesterday . tomorrow . infinity . a repeat . the day after never seems to end . a loop . a repeat . today . the day after never seems to end . a copy . the day after never seems to end . today . a facsimile . an endless loop . a repeat . a clone . the day after never seems to end . a copy . yesterday . today . tomorrow . infinity . a repeat . the day after never seems to end . an endless loop . a repeat . the day after never seems to end . a copy . the day after never seems to end . an endless loop . a repeat . the day after never seems to end . a copy . yesterday . today . tomorrow . infinity . a repeat . a copy . the day after never seems to end . an endless loop . a repeat .

Stan Douglas : Rebels and others

For most of us in the South Pacific the 25th of April marks the "anniversary of the first campaign that led to major casualties for Australian and New Zealand forces during the First World War." It is a 'time stamp' that deserves the recognition of solemn reflection, poppies and biscuits, dawn services, the solitary bugle call and a time to pause and reflect on the senseless loss of life and 'lest we forget' a day of rest.

But it is also the date in the Portuguese calendar that marks the shift in the sociopolitical landscape of that small Iberian country. I will always associate this date with a memory jostled between not fully understanding the complexities of what had just happened and being witness to a moment in time when tension flips from one state to another. When 'hope' is transferred from a state of yearning into the possibility of attainment and 'fear' is released from one set of subjects and goes on to inhabit the life of others. It marks a time from my past where poppies are carnations, life is cautiously considered, when secrecy was always guarded and all individuals were suspects.

With this in mind, it is not surprising that Stan Douglas' filmic version of the classic 1907 Conrad novel The Secret Agent can be seen as a continuation of "his exploration of what he calls historical “interregnums” – moments when history, politics and collective identity are ruptured by upheaval, usually leading to a brief period of freedom followed by an uneasy stability" where the "the overall atmosphere hovers between melodrama and melancholia." (Source: the guardian)

Stan Douglas: The Secret Agent review – the spy who came in from the heat

Victoria Miro gallery, London A multiscreen rendering of Joseph Conrad’s novel plays with cold war spy thriller conventions in an elaborately constructed conceptual art film

Sean O'Hagan / Thursday 4 February 2016 14.57 GMT / theGuardian

Joseph Conrad’s novel transposed to 1975 Portugal … Stan Douglas, The Secret Agent, 2015. Photograph: Stan Douglas/David Zwirner/Victoria Miro (source: theguardian)

I consider photos to be like films without moving images,” Stan Douglas said recently. His images are cinematic, often nodding towards film noir or Alfred Hitchcock’s elaborate thrillers, but their complexity rests on their often oblique sociopolitical subtexts as much as their elaborate construction. With Douglas’s work, you often feel like you have stepped into a much bigger narrative that concerns, among other things, the lingering effects of post-colonialism and modernism.

http://www.theguardian.com/artanddesign/2016/feb/04/stan-douglas-the-secret-agent-review-victoria-miro-joseph-conrad

Further reading : 1974 - Rebels seize control of Portugal / the carnation revolution

Wind

Wind is the flow of gases on a large scale. On the surface of the Earth, wind consists of the bulk movement of air. In outer space, solar wind is the movement of gases or charged particles from the Sun through space, while planetary wind is the outgassing of light chemical elements from a planet's atmosphere into space. Winds are commonly classified by their spatial scale, their speed, the types of forces that cause them, the regions in which they occur, and their effect. The strongest observed winds on a planet in the Solar System occur on Neptune and Saturn. Winds have various aspects, an important one being its velocity; another the density of the gas involved; another is the energy content or wind energy of a wind.

https://en.m.wikipedia.org/wiki/Wind#