Woman of the Dunes: Lisa Thatcher. He as the insect of his own making.
21 April 2014
Straw man or logical fallacy – defined.
Tu quoque argument (Trans: “You, also” or “You’re another”, Latin) – defined
Type: Argumentum ad Hominem and Two Wrongs Make a Right
16 April 2014
Screen from In the Realms of Gold, 2012
Remembering Carthage
“In the Realms of Gold (2012) opens with a pastoral landscape, which is rudely interrupted by the sudden appearance of a camouflaged soldier. He seems to lack autonomy, unable to exit this rural environment. This inability to escape the ‘real world’ is also evident in the 14-minute Remember Carthage (2012–13), in which the narrator travels back in time, trying to locate an uninhabited ‘resort’ in the Sahara desert.
29 March 2014
“THE NEXT DOCUMENTA
SHOULD BE CURATED BY A TANK”
by Thierry Geoffroy / Colonel ( 1@colonel.dk )
via documenta_kassel.
9 March 2014
From colonel.
ACTIVIST [fr. activiste]
Please don’t call any of us “an activist”
then we have to get rid of them
exclude them fast.
To say: “You are an activist”
is like to denounce someone.
To isolate the artist.
To neutralise the artist
To say: “I am an activist”
is even worse.
Can you imagine a spy saying:
“Good morning I am a spy”
“I am secretly going to spy on you”
The word activist
is a word like “contemporary”
is a word like “happy”.
It is a construction.
An invention to get the focus away from action.
(see the rest at you tube)
9 February 2014
2012 September | Nicola Triscott.
“Today, each day we create 2.5 quintillion bytes of data (source: IBM). This trend is accelerating so fast that 90% of the data in the world today has been created in the last two years alone. Data sets have become so large and complex that it has become extremely difficult to process using current tools. Malina argued that there is a critical role for artists in creating new systems of data representation, visualisation, sonification, and simulation, across fields ranging from astronomy, geology, nanoscience and medicine, to business and finance. It’s not a field in which I am an expert, but it strikes me that – as well as the systems that Malina outlines – the key contribution that artists can make is in helping to create meaning and poetry from these vast data fields.
At ISEA, there are a few examples of artworks using large data arrays. Agnes Chavez & Alessandro Saccoia’s (x)trees, for example, at the Albuquerque Museum of Art & History is a socially interactive virtual forest generated from search words found in tweets and text messages, an experiment in data visualisation, video mapping and participatory art.”
Lise Autogena + Joshua Portway, Most Blue Skies (2010)
10 September 2013
dConstruct: Artists grapple with the culture of technology surveillance
One artistic response to the revelations around surveillance of technologies we rely on daily – and a theme of dConstruct – has been to urge digital designers to “make the invisible visible”, with cyborg-anthropologist Amber Case explaining importance of revealing the systems, materials and mechanisms which enable contemporary digital culture.
6 August 2013
