I love those NASA posters and actually have one hanging on my wall!
On Fri, Apr 29, 2016 at 3:04 AM Rob Myers <r...@robmyers.org> wrote: > On 24/04/16 03:22 AM, Annie Abrahams wrote: > > > > I just watched Ruth's work again, I like the reflexion it brings, how it > > articulates all these times. > > Yes it increases our ability to reflect on and dare I say reason about > this. Which is Accelerationist-y. It's a very eloquent work however one > looks at it. > > > What did I get out of the examples Rob gave in his article? They are > > almost all art, just art, as far as I can see. Objects, you can show and > > sell. They function mostly in the Artworld. Holly Herndon and probably > > also Morehshin Allahyari & Daniel Rourke seem to be a bit different in > > the sense that they also engage with other domains and feel "whole". > > They reach out. > > This is an interesting contrast that I'd like to unpack a bit. :-) > > The "After Us" magazine cover, "On The Necessity of Art's Exit From > Contemporary Art" book cover and Holly Herndon album cover are graphic > design there to illustrate products rather than be presented as art in > themselves. > > Of the images of artworks in the article... > > "Acceleration" incorporates imagery from the computer simulation of a > solar neutrino event at Sudbury Neutrino Observatory. It was drawn in > pen and ink, to resist any accusations of techno-fetishism. > > "Cybersyn Control Room" is the mock-up of an environment intended to > help respond to the needs of a transitioning socialist economy. > > "Final Machine" contrasts Louis Althusser's work with a CIA > indoctrination lecture and the script of Miami Vice. > > "Index: Incident In The Museum" is part of a Marxist critique of the > artworld as a site of class struggle. > > "The Promise Of Total Automation" has been curated to provide different > perspectives on its subject. > > The "Xenofeminism" GIF is a playful but conceptually dense detourned > image of feminine artificiality, power and order. > > The "Additivism" image is again quite compact - art, Cthulhu, global > warming, 3D printing and oil in a single coherent image. > > And careful web searches indicate that the entities named in O(rphan) > D(rift>)'s "Hybridized" video have long since escaped it. > > So at the level of *content*, these all reach further to varying degrees. > > That they contrast with more participatory or performative art > illustrates a paradox of political art - *form* can be more effectively > political than content. > > I'd argue for the political role of form in these works as well. But the > fact that despite this they can all be contained by the contemporary > artworld (even Cybersyn's control room was the subject of an art show) > indicates just how difficult seeing beyond its confines will be. What > knowledge could be sufficient to achieve this? > > > Please diversify examples ... > > I don't think it's a good one, but... On the level of propagandising for > Left Accelerationism, I think something like these NASA posters might be > an example of how to make the idea of a specific better future seem > possible - > > http://www.jpl.nasa.gov/visions-of-the-future/ > > _______________________________________________ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > -- P Thayer, Artist http://pallthayer.dyndns.org
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