http://counterpractice.com/ http://libraryoftheprintedweb.tumblr.com
The viewer (or the camera as a ‘viewer proxy’) is already divided, or apart, or opposite from its subject. The viewer is inside the world of course, but the structure of immanence is not in effect. Rather, a structure of distance, difference, relationality predominates.
![[ cover image : Courtesy Lynn Hershman Leeson ]](https://images.squarespace-cdn.com/content/v1/56b7bd549f7266e7efc9583d/1502245077972-VASCLSGIEM4V2DQDQDZ6/img_1241.jpg)
[ 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
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
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, "Planetarium"
A digital project, part of And Yet It Moves
"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
[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/]
[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
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." ...
http://www.soundmirrors.org/
http://www.andrewgrantham.co.uk/soundmirrors/
This essay was presented as a performance/lecture – Whitecliffe College of Arts and Design, Auckland, New Zealand.
"But what is transmissible is legal ownership and not (or not necessarily) what constitutes the precondition for specific appropriation, namely, the possession of the means of ‘consuming’ a painting or using a machine, which, being nothing other than embodied capital, are subject to the same laws of transmission".
Pierre Bourdieu, The forms of capital. 1986
India's new prime minister Narendra Modi is standing on a stage addressing a crowd of more than 17,000 followers in Dubai, you can watch it on YouTube. Or you can watch some of his holographic lifelike onstage tele-presence experiences of over more than 800 of his ‘live performances’ that he gave during his frenetic 2014 campaign to secure his victory. With over 3 million square kilometres of land to travel and a population of roughly 1.3 billion people to talk to - it is a gruelling and long campaign. India is a big place but the world has just gotten a bit smaller, where the old idiom of ‘you can not be in two place at once’ has just exited stage left. This is not the stuff of science fiction. This is real and the company which developed the technology HologramUSA - states that the experience “will transform your business” – “help you break through the media clutter” and make “you stand out from the crowd”. 1
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[image] http://egs.edu/faculty/boris-groys
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.
https://youtu.be/iyEBXewn7ys Hito Steyerl talks decrypting noise signals, filtering systems and the spectrum of human vision ...
"ham sandwiches and eternal happiness"
A recent article describes the discovery of a large ‘hole’ on the edge of a distant galaxy as having a shape. That shape, which might be considered as being empty, was expressed in terms of having a boundary. Of course nothing can be empty and we sometimes define boundaries by the things they exclude but generally we perceive ‘nothing’ as having no content and in doing that we tend to associate emptiness with the idea of a void, something trivial, which can also imply absence or lack of form. But rarely do we consider the things that don’t exist and that the presence of something, like, let’s say someone’s identity, is what makes them real, tangible, present. The idea that something empty, or, possibly something that doesn’t exist, or even maybe that once existed but now is only a residue or a memory, can carry so much weight, so much mass, intrigues me.
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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.
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/
![[image] "Communitas is an ‘unstructured’ realm of ‘social structure’, where often the normal ranking of individuals is reversed or the symbols of rank inverted [...] one might envisage it as a realm which is simultaneously one thing and not that thi…](https://images.squarespace-cdn.com/content/v1/56b7bd549f7266e7efc9583d/1480281517209-MHI26NO6D42XW3WA760H/%5Bimage%5D+%22Communitas+is+an+%E2%80%98unstructured%E2%80%99+realm+of+%E2%80%98social+structure%E2%80%99%2C+where+often+the+normal+ranking+of+individuals+is+reversed+or+the+symbols+of+rank+inverted+%5B...%5D+one+might+envisage+it+as+a+realm+which+is+simultaneously+one+thing+and+not+that+thing+%28as+in+the+Venn+diagram%2C+figure+6+.1%29%22+retrieved+from%3A+History+and+Theory+in+Anthropology+by+Alan+Barnard%2C+University+of+Edinburgh.)
[image] "Communitas is an ‘unstructured’ realm of ‘social structure’, where often the normal ranking of individuals is reversed or the symbols of rank inverted [...] one might envisage it as a realm which is simultaneously one thing and not that thing (as in the Venn diagram, figure 6 .1)" retrieved from: History and Theory in Anthropology by Alan Barnard, University of Edinburgh.
It would be impossible to know exactly how many images of us really exist in the world; how many photos and videos of us have been taken, how many captured moments we have produced. How many fractured, low resolution pixelated bits of data we have been instrumental in. How many bursts of time we have unwillingly marked, minding our own business, doing what it is we do, going about our daily lives, unseen, unheard. Data collection comes in many forms but probably the most obvious are those inescapable cameras which are forever present all around us. They can be found on top of poles, on the façades of buildings, attached to the bus, perched atop of architectural architraves, nestled between columns, balancing in a nook, almost everywhere imaginable. While some are visible, exposed by their outer skins, some are far more deceptive, their identities concealed, blending in with the architecture, acting nonchalantly like there could be no possible use to their purpose. But, regardless of their attributes, the one thing they all have in common is a voracious appetite to record whatever comes within its angle of view.
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... become a billionaire [link] or ... you can test it out first below ... http://nyti.ms/1rVSFDI
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
[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 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 .
still_01
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)
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
The leading art theorist takes on art in the age of the Internet