DADABOT. The role of algorithms in cultural production

[image] http://www.nicolasnova.net/pasta-and-vinegar/2015/10/7/new-book-dadabot

Nicolas Nova sees dada in big data

Published 19 January 2016 by Annick Rivoire

Nicolas Nova observes our digital practices as did Claude Lévi-Strauss with his sad tropics. In “Dadabot”, a formidable essay on “creolization” in the digital age, he and Joël Vacheron give an overview of this “new human-machine relationship”. Interview.

http://www.makery.info/en/2016/01/19/nicolas-nova-voit-du-dada-dans-la-data/?utm_content=buffer0de02&utm_medium=social&utm_source=plus.google.com&utm_campaign=buffer

Essay about the hybridization of cultural forms (music, visual arts, literature) produced by digital technologies.

The notion of creolization, proposed by linguists, anthropologists and writers, correspond to the hybridization of cultural elements which lead to original forms. The increasing use of digital technologies in everyday culture (video games, electronic music, new media art, literature, visual art) add a new layer of complexity. Machines indeed play a specific role in this sort of hybridization, as attested by the use of samples, presets, sound effects in electronic music, generative art and glitches in visual arts, or the importance of Web mash-up and humoristic Twitter bots. DADABOT focuses on this “algorithmic turn” in contemporary culture and describe it through several components: interviews with artists, experiments with digital technologies, a lexicons and an essay that address the implications of such changes. https://www.idpureshop.ch/web/catalogue.aspx?cat=62

Includes works by:

Diego Collado, Data recovery, 2010–2014

Diego Collado hunted for used digital memory cards of phones and cameras. Then, with the help of a Data Recovery software, the artist started to recompose what could be rescued from the images erased. The digital traces of personal moments from the past are thus reinterpreted by the software.

Daily Dot headline about !Mediengruppe Bitnik‘s The Random Darknet Shopper (via) /: The Random Darknet Shopper is an automated online shopping bot which we provide with a budget of $100 in Bitcoins per week. Once a week the bot goes shopping in the deep web where it randomly chooses and purchases one item and has it mailed directly to the exhibition space. Once the items arrive they are unpacked and displayed, each new object adding to a landscape of traded goods from the Darknet.

Marion Balac, Anonymous Gods

Scouring through Google Street View, Marion Balac realized that the algorithms of the mapping service had anthropomorphized and accidentally blurred out the face of the statues of deities that its car had encountered along the road.

retrieved from : DADABOT. The role of algorithms in cultural production – We Make Money Not Art

R.I.P Hema Upadhyay

[image] Hema Upadhyay, “Modernization” (photo by Anil Rane, image courtesy Chemould Prescott Road and the artist)

The Important Work of Indian Artist Hema Upadhyay, Murdered at 42

by Anuradha Vikram on December 15, 2015

News of artist Hema Upadhyay’s death in Mumbai over the weekend has stunned the international art community. Upadhyay, 42, was a painter and mixed media artist who showed with Mumbai gallery Chemould Prescott Road, and had been featured in landmark shows in the global trajectory of Indian contemporary art, including Indian Highway(Serpentine Gallery, 2008) and Chalo! India (Mori Art Museum, 2009).

retrieved from Hyperallergic : continue reading ...

we make money not art

Régine Debatty is a writer, curator and critic, and founder of we-make-money-not-art.com. Régine is known for her writings on the intersection between art, science, technology, and social issues. She writes and lectures internationally about the way artists, hackers and designers use technology as a medium for critical discussion. From 2012 to 2014 Régine ran the weekly art and science programme #A.I.L. (Artists in Laboratories) on Resonance104.4 fm in London. She is also the co-author of the ‘sprint book’, New Art/Science Affinities, published by Carnegie Mellon University and is an Honorary Fellow of the Royal College of Art in London.

Retrieved from: http://we-make-money-not-art.com/about/

Silicon Valley exploits time and space to extend the frontiers of capitalism

[image] A Google Project Loon balloon which aims to provide Wi-Fi connections from the edges of space. Photograph: Marty Melville/AFP/Getty Images (Retrieved fromhttp://www.theguardian.com/commentisfree/2015/nov/29/silicon-valley-exploits-space-evgeny-morozov#img-1

Silicon Valley exploits time and space to extend the frontiers of capitalism

Evgeny Morozov

Satellites, drones and balloons can make global connectivity a reality – but this space race is about profits not altruism

The US Congress quietly passed an important piece of legislation this month. The Space Resource Exploration and Utilisation Act – yet to be signed by Barack Obama – grants American companies unconstrained rights to the mining of any resources – from water to gold. The era of space exploration is over; the era of space exploitation has begun! ...

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Digital Art: Beyond The Hype

[image] Andreas Nicolas Fischer, Schwarm (2015)

http://www.ignant.de/2015/11/24/digital-art-beyond-the-hype/

November 24, 2015  by Charmaine Li

If you think of the term ‘digital art’, you might conjure up images of twitchy GIFs or glitchy videos. You might think it’s a recent development, but in fact its practice has roots dating back to the 1960s. So – what is considered ‘digital art’? And why are people paying for it? Is it all just hype? We delved into this topic and spoke to some key artists and gallerists about what it means to create, consume and sell digital art…

Charmaine is a Canadian writer and editor living in Berlin, Germany. Currently, she is an online editor at iGNANT. Previously, she was senior editor at Tech.eu and has also contributed to Maisonneuve, CNN Travel, Dazed Digital, Freunde von Freunden and Berlin Film Journal among other publications on lifestyle and cultural topics.

the conjurer

[image] Hieronymus Bosch, The Conjurer - Date unknown. Oil on panel. Original dimensions: 53 x 65 cm. Retrieved from https://excursuses.wordpress.com/2011/06/03/hieronymus-bosch-a-primer/

He who lets himself be fooled by conjuring tricks loses his money and becomes the laughing stock of children." - A Flemish proverb

"The Conjurer, an extraordinary tale of a conjurer trying to persuade the spectator that he's pulling toads or frogs out of his mouth. Meanwhile there's someone standing behind this spectator, who's stealing his wallet. It's a wonderful little painting, we unfortunately don't have the original, but it's a very good copy. It's a secular painting and has got away from the moralising and religious pose which one normally associates with Bosch. This genre painting became very popular in the Netherlands and the north in general, because it was opposed to the mythological painting of Italy. Here you had scenes from everyday life, it was getting away from the porcelain-like saints, down into the street. I think it was very modern.[9]

"Bosch". BBC Documentaries. 3 May 2006. Retrieved 2011-03-07., Bosch and the Delights of Hell [1]

the new romanticism

self driving cars ....

The Dream Life of Driverless Cars

"If the conceptual premise of the Romantic Movement can somewhat hastily be described as the experience and documentation of extreme landscapes — as an art of remote mountain peaks, abyssal river valleys and vast tracts of uninhabited land — then ScanLAB is suggesting that a new kind of Romanticism is emerging through the sensing packages of autonomous machines."

Geoff Manaugh is the writer of BLDGBLOG, a blog about architecture and the built environment. His book ‘‘A Burglar’s Guide to the City’’ will be published in April. The New York Times Magazine. http://nyti.ms/1MWu3ny

Disneyland