Re: [NetBehaviour] aesthetics examples ... forked from : Re: Accelerationist aesthetics

[Rob Myers]

On 29/04/16 06:59 AM, Pall Thayer wrote:
> I love those NASA posters and actually have one hanging on my wall!

I imagine ones with a similarly confident visual aesthetic and verbal
phrasing presenting a future in which full automation / post-capitalism
/ etc. have already happened (and were always going to have happened).

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Re: [NetBehaviour] aesthetics examples ... forked from : Re: Accelerationist aesthetics

[Rob Myers]

On 29/04/16 06:42 AM, Alan Sondheim wrote:
> 
> On Thu, 28 Apr 2016, Rob Myers wrote:
> 
>>
>> An ideal Accelerationist artwork would have been the Guerilla Girls'
>> proposal for a gallery to make its finances public as "the work" (the
>> gallery declined). It would have been a critical exposure of knowledge
>> about the art world, enabling us to understand more about it, and was
>> entirely indigestible by it, making it something other than Contemporary
>> Art.
>>
> 
> - Hans Haacke

Oh yes Haacke is a very good example.

In particular, Haacke's "Shapolsky et al. Manhattan Real Estate
Holdings, a Real-Time social System, as of May 1, 1971" was indigestible
by the artworld of its time, -

http://collection.whitney.org/object/29487

It was originally excluded from an exhibition. But as the Whitney url
indicates has since been recuperated.

Another work that exposes aspects of the artworld economy is Douglas
Huebler's "Variable Piece no.44" (1971) -

http://www.tate.org.uk/art/artworks/huebler-variable-piece-no-44-p07234

It's more open to the "art about art" charge than Haacke's work of the
time, but is still an exposure of the hidden workings of its chosen system.

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Re: [NetBehaviour] aesthetics examples ... forked from : Re: Accelerationist aesthetics

[Pall Thayer]

I love those NASA posters and actually have one hanging on my wall!


On Fri, Apr 29, 2016 at 3:04 AM Rob Myers  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/
>
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Re: [NetBehaviour] aesthetics examples ... forked from : Re: Accelerationist aesthetics

[Alan Sondheim]

On Thu, 28 Apr 2016, Rob Myers wrote:



An ideal Accelerationist artwork would have been the Guerilla Girls'
proposal for a gallery to make its finances public as "the work" (the
gallery declined). It would have been a critical exposure of knowledge
about the art world, enabling us to understand more about it, and was
entirely indigestible by it, making it something other than Contemporary
Art.



- Hans Haacke
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Re: [NetBehaviour] aesthetics examples ... forked from : Re: Accelerationist aesthetics

[Rob Myers]

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/

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Re: [NetBehaviour] aesthetics examples ... forked from : Re: Accelerationist aesthetics

[BishopZ]

These are the ones I tagged:


! Roman Cieslewicz



Martin Woodtli, Videoex, 2013.

Sebastian Onufszak

Holly Herndon and Mat Dryhurst – Mask Magazine

Benedict Singleton

SOTW “PRISMATIC” Bumper (by Max Hattler)

Studio Dumbar: Amsterdam Sinfonietta Visual Identity & Posters

Ben Jones Video Paintings: An introduction - Artist Studio - MOCAtv

二〇一三年賀狀展 Exhibition of Greeting Cards 2013 by Chae Byung-rok 채병록

Party Face by Drew Flaherty

The spring-summer 2015 issue from Garage Magazine

Japanese Poster: Space of Confusion. Exhibition.

Pattern Graphics - Akiko (Studio Kanna)

Herbert Bayer - Self portrait

Posters by Fermin Guerrero

Cocinas Corona - For Newspaper by Felipe Salazar

Geoffrey Lillemon, MOCA L.A Bernhard Willhelm 3000

Geoffrey Lillemon Girls Night- Video Art, 2015

Alex Tew launched The Million Dollar Homepage 10 years ago

Jake Vogds

Harper’s Bazaar, April 1965. Photographer: Richard Avedon. Model: Jean
Shrimpton

*Body Politics Take Front and Center at Volta NY Art Fair*

Berlin-based artist Pierre Schmidt, also known as Drømsjel

Can Pekdemir Quadruped Resisting 2013

Shifting Folds, 2012, Orlan



On Thu, Apr 28, 2016 at 11:00 PM, Rob Myers  wrote:

> On 24/04/16 01:49 PM, Pall Thayer wrote:
> > It just occurred to me that this artwork has already been suggested by
> > Kurt Vonnegut in Rabo Karabekian's "Windsor Blue Number Seventeen".
> >
> > On Sun, Apr 24, 2016 at 2:18 PM Pall Thayer  > > wrote:
> >
> > Based on my understanding of Accelerationism, I would think that the
> > ideal "Accelerationist" artwork would be work that you get typical
> > art-investors to pay a shit-load of money for but that is inherently
> > ephemeral so that no portion of the original "investment" can ever
> > grow or even be recouped.
>
> The art market recuperates the ephemeral (and even the actively hostile)
> and turns doing so into a mechanism of exclusivity.
>
> Whether it's carefully recovered documentation and certificates, or
> restricted access to remote locations and fleeting events, exclusivity
> is a source of value in the art market.
>
> So trying to not create, or to actively destroy, value in the art market
> is a good way of creating value in the art market. This is a challenge
> for epistemic accelerationists seeking to exit the contemporary artworld...
>
> An ideal Accelerationist artwork would have been the Guerilla Girls'
> proposal for a gallery to make its finances public as "the work" (the
> gallery declined). It would have been a critical exposure of knowledge
> about the art world, enabling us to understand more about it, and was
> entirely indigestible by it, making it something other than Contemporary
> Art.
>
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>



-- 


==-===-=-=---
+_+~_=_~--+__+=-^=-+_+_=^-+__+-=+_+~__=__~-_--=++=_--^-===-=-==-=-=--
==-===-=-=---

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Re: [NetBehaviour] aesthetics examples ... forked from : Re: Accelerationist aesthetics

[Rob Myers]

On 24/04/16 01:49 PM, Pall Thayer wrote:
> It just occurred to me that this artwork has already been suggested by
> Kurt Vonnegut in Rabo Karabekian's "Windsor Blue Number Seventeen".
> 
> On Sun, Apr 24, 2016 at 2:18 PM Pall Thayer  > wrote:
> 
> Based on my understanding of Accelerationism, I would think that the
> ideal "Accelerationist" artwork would be work that you get typical
> art-investors to pay a shit-load of money for but that is inherently
> ephemeral so that no portion of the original "investment" can ever
> grow or even be recouped.

The art market recuperates the ephemeral (and even the actively hostile)
and turns doing so into a mechanism of exclusivity.

Whether it's carefully recovered documentation and certificates, or
restricted access to remote locations and fleeting events, exclusivity
is a source of value in the art market.

So trying to not create, or to actively destroy, value in the art market
is a good way of creating value in the art market. This is a challenge
for epistemic accelerationists seeking to exit the contemporary artworld...

An ideal Accelerationist artwork would have been the Guerilla Girls'
proposal for a gallery to make its finances public as "the work" (the
gallery declined). It would have been a critical exposure of knowledge
about the art world, enabling us to understand more about it, and was
entirely indigestible by it, making it something other than Contemporary
Art.

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Re: [NetBehaviour] aesthetics examples ... forked from : Re: Accelerationist aesthetics

[Annie Abrahams]

Thanks Ruth, yes, nice, glad I saw the set-up!

Other artworks ...? thinking about it ? for me interesting artworks on the
border between art and politics try to reach out to something else, try to
crossover, are hybrid things made by people who do not stick to one field
of knowledge
what we need in this world to better it, if possible, is people who
experiment with working together, who try to find new coalitions, who try
to further "trust, attention, listening". we need to "exit" art, even stop
thinking about

https://vimeo.com/163826337 "Displaced" by Soyung Lee is a work I
discovered recently - I don't really understand yet why it touches me so
much, of course because it points to communities of people of different
backgrounds, different languages doing things together - it points to a
place where English is not dominant, it's done, made by amateurs and
professionals, it has a beautiful text at its base, it talks about a very
actual condition - the displacement in a way we can feel all - it unites me
with them, with refugees, - it's performance, cinema and theater

But this has nothing to do with technology? or does it?

Annie

On Sun, Apr 24, 2016 at 5:29 PM, ruth catlow 
wrote:

> Yes Annie,
>
> > Ok let's discuss concrete art works, activities etc - let's leave for a
> moment the theorethical philipoli stuff
>
> More examples would be good.
>
> > In this discussion we have until now Ruth's work
> http://gtp.ruthcatlow.net/ on time: human time, life time, computertime,
> scientific time, stone time and Rob's examples in his article
> http://furtherfield.org/features/articles/accelerationist-art  - what are
> these doing, what duscussion, thoughts they further ...
> >
>
> To answer your particular questions about my work
>
> > I just watched Ruth's work again, I like the reflexion it brings, how it
> articulates all these times.
> > I have a question: - What do the people who go to the installation get
> from this, is there a live video projection?, Can they understand how time
> is at stake in this work? (In the catalogue text I read Edward mentioned a
> projection, but so far I didn't see any photos of it)*
> > I admit I had difficulties understanding the complexity of the piece in
> the beginning but now, at the end I can enjoy it's beauty.
> > So probably what I want to know Ruth, is where was your focus on the
> final video object or on what happened in the installation ...
>
> I think/hope that the work is totally explicit for gallery visitors.  But
> now I understand that the documentation needs more clarity for online
> viewers
>
> The plasma screen displays this webpage http://gtp.ruthcatlow.net/ which
> shows the most recent image taken by the web cam, along with the looping
> video to which images are added every 3 or 4 images.
>
> People can pose for the web cam, or might be caught looking at the video
> in which they are soon to be portrayed.
>
> Here is a photo which shows the set up.
>
> https://www.flickr.com/photos/60673926@N02/24540097322/in/album-72157663958436545/
> Here you can scroll through a set of images showing selected stills from
> the video, as well as some installation shots
> https://www.flickr.com/photos/60673926@N02/albums/72157663958436545
>
>
> >
> > 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.
> > As feel "whole" for me someone like Hito Steyerl whose work I like a lot.
> >
> http://www.e-flux.com/journal/a-sea-of-data-apophenia-and-pattern-mis-recognition/
> > the dissappearance of an horizon - acceleration as stasis
> https://vimeo.com/81109235#t=99s
> > Does this have anything to do with accelerationism? I don't know and
> would that be important to know?
>
> Acceleration as stasis. Yes I think this is right Annie.
>
> Yes! more examples
>
> Thank you
>
> :)
> Ruth
>
>
>
> >
> > Please diversify examples ...
> >
> > Thanks for these discussions!!
> > Annie
> >
> > *I found a photo of a screen showing what?
> https://www.flickr.com/photos/szpako/24284339460/in/pool-wana2021/ a
> still, a looping video?
> >
> >
> >
> > On Sun, Apr 24, 2016 at 3:33 AM, Gretta Louw <
> gretta.elise.l...@gmail.com> wrote:
> >
> > This makes so much sense to me, thank you Ruth. I see so much of
> this in Europe, North America and the western, urban mainstream; an utter
> inability (and, probably, unwillingness) to look outside our own narrowly
> defined cultural lens when purportedly studying/attempting to understand
> technology, media, digitalisation, and their impacts. It hampers real
> discussion and cross-fertilization of ideas. Preaching to the (mostly
> white, educated, urban, western, northern) choir - as most 

Re: [NetBehaviour] aesthetics examples ... forked from : Re: Accelerationist aesthetics

[Michael Szpakowski]

< after I'm back from hyperreality on Tuesday.>
I can't begin to say how unreasonably happy that sentence makes me


m.
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Re: [NetBehaviour] aesthetics examples ... forked from : Re: Accelerationist aesthetics

[Rob Myers]

On April 24, 2016 3:22:53 AM PDT, Annie Abrahams  wrote:
>
>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. 

I'm going to respond to this (and Ruth's comments) after I'm back from 
hyperreality on Tuesday. I need access to my Laptop. :-)

This is an awesome discussion.
-- 
Sent from my Android device with K-9 Mail. Please excuse my brevity.
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Re: [NetBehaviour] aesthetics examples ... forked from : Re: Accelerationist aesthetics

[Pall Thayer]

It just occurred to me that this artwork has already been suggested by Kurt
Vonnegut in Rabo Karabekian's "Windsor Blue Number Seventeen".


On Sun, Apr 24, 2016 at 2:18 PM Pall Thayer  wrote:

> Based on my understanding of Accelerationism, I would think that the ideal
> "Accelerationist" artwork would be work that you get typical art-investors
> to pay a shit-load of money for but that is inherently ephemeral so that no
> portion of the original "investment" can ever grow or even be recouped.
>
> On Sun, Apr 24, 2016 at 1:24 PM ruth catlow 
> wrote:
>
>> Yes Annie,
>>
>>  > Ok let's discuss concrete art works, activities etc - let's leave for
>> a moment the theorethical philipoli stuff
>>
>> More examples would be good.
>>
>>  > In this discussion we have until now Ruth's work
>> http://gtp.ruthcatlow.net/ on time: human time, life time, computertime,
>> scientific time, stone time and Rob's examples in his article
>> http://furtherfield.org/features/articles/accelerationist-art  - what
>> are these doing, what duscussion, thoughts they further ...
>>  >
>>
>> To answer your particular questions about my work
>>
>>  > I just watched Ruth's work again, I like the reflexion it brings, how
>> it articulates all these times.
>>  > I have a question: - What do the people who go to the installation
>> get from this, is there a live video projection?, Can they understand
>> how time is at stake in this work? (In the catalogue text I read Edward
>> mentioned a projection, but so far I didn't see any photos of it)*
>>  > I admit I had difficulties understanding the complexity of the piece
>> in the beginning but now, at the end I can enjoy it's beauty.
>>  > So probably what I want to know Ruth, is where was your focus on the
>> final video object or on what happened in the installation ...
>>
>> I think/hope that the work is totally explicit for gallery visitors.
>> But now I understand that the documentation needs more clarity for
>> online viewers
>>
>> The plasma screen displays this webpage http://gtp.ruthcatlow.net/ which
>> shows the most recent image taken by the web cam, along with the looping
>> video to which images are added every 3 or 4 images.
>>
>> People can pose for the web cam, or might be caught looking at the video
>> in which they are soon to be portrayed.
>>
>> Here is a photo which shows the set up.
>>
>> https://www.flickr.com/photos/60673926@N02/24540097322/in/album-72157663958436545/
>> Here you can scroll through a set of images showing selected stills from
>> the video, as well as some installation shots
>> https://www.flickr.com/photos/60673926@N02/albums/72157663958436545
>>
>>
>>  >
>>  > 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.
>>  > As feel "whole" for me someone like Hito Steyerl whose work I like a
>> lot.
>>  >
>>
>> http://www.e-flux.com/journal/a-sea-of-data-apophenia-and-pattern-mis-recognition/
>>  > the dissappearance of an horizon - acceleration as stasis
>> https://vimeo.com/81109235#t=99s
>>  > Does this have anything to do with accelerationism? I don't know and
>> would that be important to know?
>>
>> Acceleration as stasis. Yes I think this is right Annie.
>>
>> Yes! more examples
>>
>> Thank you
>>
>> :)
>> Ruth
>>
>>
>>  >
>>  > Please diversify examples ...
>>  >
>>  > Thanks for these discussions!!
>>  > Annie
>>  >
>>  > *I found a photo of a screen showing what?
>> https://www.flickr.com/photos/szpako/24284339460/in/pool-wana2021/ a
>> still, a looping video?
>>  >
>>  >
>>  >
>>  > On Sun, Apr 24, 2016 at 3:33 AM, Gretta Louw
>>  wrote:
>>  >
>>  > This makes so much sense to me, thank you Ruth. I see so much of
>> this in Europe, North America and the western, urban mainstream; an
>> utter inability (and, probably, unwillingness) to look outside our own
>> narrowly defined cultural lens when purportedly studying/attempting to
>> understand technology, media, digitalisation, and their impacts. It
>> hampers real discussion and cross-fertilization of ideas. Preaching to
>> the (mostly white, educated, urban, western, northern) choir - as most
>> tech/ digital/ futurist and possibly accelerationist (I hope I'm wrong
>> about the last one, still too early to tell)
>> festivals/meetings/discussion do - is a futile endeavor and exhausting
>> to watch. Diversification is essential, but the way the discourse has
>> developed around diversity actually is counterproductive to achieving
>> greater diversity. Just as an example, there are studies that have shown
>> that reminding applicants of their 'diverse' (one must ask, according to
>> 

Re: [NetBehaviour] aesthetics examples ... forked from : Re: Accelerationist aesthetics

[Pall Thayer]

Based on my understanding of Accelerationism, I would think that the ideal
"Accelerationist" artwork would be work that you get typical art-investors
to pay a shit-load of money for but that is inherently ephemeral so that no
portion of the original "investment" can ever grow or even be recouped.

On Sun, Apr 24, 2016 at 1:24 PM ruth catlow 
wrote:

> Yes Annie,
>
>  > Ok let's discuss concrete art works, activities etc - let's leave for
> a moment the theorethical philipoli stuff
>
> More examples would be good.
>
>  > In this discussion we have until now Ruth's work
> http://gtp.ruthcatlow.net/ on time: human time, life time, computertime,
> scientific time, stone time and Rob's examples in his article
> http://furtherfield.org/features/articles/accelerationist-art  - what
> are these doing, what duscussion, thoughts they further ...
>  >
>
> To answer your particular questions about my work
>
>  > I just watched Ruth's work again, I like the reflexion it brings, how
> it articulates all these times.
>  > I have a question: - What do the people who go to the installation
> get from this, is there a live video projection?, Can they understand
> how time is at stake in this work? (In the catalogue text I read Edward
> mentioned a projection, but so far I didn't see any photos of it)*
>  > I admit I had difficulties understanding the complexity of the piece
> in the beginning but now, at the end I can enjoy it's beauty.
>  > So probably what I want to know Ruth, is where was your focus on the
> final video object or on what happened in the installation ...
>
> I think/hope that the work is totally explicit for gallery visitors.
> But now I understand that the documentation needs more clarity for
> online viewers
>
> The plasma screen displays this webpage http://gtp.ruthcatlow.net/ which
> shows the most recent image taken by the web cam, along with the looping
> video to which images are added every 3 or 4 images.
>
> People can pose for the web cam, or might be caught looking at the video
> in which they are soon to be portrayed.
>
> Here is a photo which shows the set up.
>
> https://www.flickr.com/photos/60673926@N02/24540097322/in/album-72157663958436545/
> Here you can scroll through a set of images showing selected stills from
> the video, as well as some installation shots
> https://www.flickr.com/photos/60673926@N02/albums/72157663958436545
>
>
>  >
>  > 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.
>  > As feel "whole" for me someone like Hito Steyerl whose work I like a
> lot.
>  >
>
> http://www.e-flux.com/journal/a-sea-of-data-apophenia-and-pattern-mis-recognition/
>  > the dissappearance of an horizon - acceleration as stasis
> https://vimeo.com/81109235#t=99s
>  > Does this have anything to do with accelerationism? I don't know and
> would that be important to know?
>
> Acceleration as stasis. Yes I think this is right Annie.
>
> Yes! more examples
>
> Thank you
>
> :)
> Ruth
>
>
>  >
>  > Please diversify examples ...
>  >
>  > Thanks for these discussions!!
>  > Annie
>  >
>  > *I found a photo of a screen showing what?
> https://www.flickr.com/photos/szpako/24284339460/in/pool-wana2021/ a
> still, a looping video?
>  >
>  >
>  >
>  > On Sun, Apr 24, 2016 at 3:33 AM, Gretta Louw
>  wrote:
>  >
>  > This makes so much sense to me, thank you Ruth. I see so much of
> this in Europe, North America and the western, urban mainstream; an
> utter inability (and, probably, unwillingness) to look outside our own
> narrowly defined cultural lens when purportedly studying/attempting to
> understand technology, media, digitalisation, and their impacts. It
> hampers real discussion and cross-fertilization of ideas. Preaching to
> the (mostly white, educated, urban, western, northern) choir - as most
> tech/ digital/ futurist and possibly accelerationist (I hope I'm wrong
> about the last one, still too early to tell)
> festivals/meetings/discussion do - is a futile endeavor and exhausting
> to watch. Diversification is essential, but the way the discourse has
> developed around diversity actually is counterproductive to achieving
> greater diversity. Just as an example, there are studies that have shown
> that reminding applicants of their 'diverse' (one must ask, according to
> whom, diverse from what??) background in a job ad by specifically
> stating that one is an equal opportunities employer etc, will in fact
> reduce the number of applicants from diverse backgrounds.
>  >
>  > I am rambling, but this issue is always tacked on to the
> sidelines of debates around the pressing issues of our time; an

Re: [NetBehaviour] aesthetics examples ... forked from : Re: Accelerationist aesthetics

[ruth catlow]

Yes Annie,

> Ok let's discuss concrete art works, activities etc - let's leave for 
a moment the theorethical philipoli stuff


More examples would be good.

> In this discussion we have until now Ruth's work 
http://gtp.ruthcatlow.net/ on time: human time, life time, computertime, 
scientific time, stone time and Rob's examples in his article 
http://furtherfield.org/features/articles/accelerationist-art  - what 
are these doing, what duscussion, thoughts they further ...

>

To answer your particular questions about my work

> I just watched Ruth's work again, I like the reflexion it brings, how 
it articulates all these times.
> I have a question: - What do the people who go to the installation 
get from this, is there a live video projection?, Can they understand 
how time is at stake in this work? (In the catalogue text I read Edward 
mentioned a projection, but so far I didn't see any photos of it)*
> I admit I had difficulties understanding the complexity of the piece 
in the beginning but now, at the end I can enjoy it's beauty.
> So probably what I want to know Ruth, is where was your focus on the 
final video object or on what happened in the installation ...


I think/hope that the work is totally explicit for gallery visitors.  
But now I understand that the documentation needs more clarity for 
online viewers


The plasma screen displays this webpage http://gtp.ruthcatlow.net/ which 
shows the most recent image taken by the web cam, along with the looping 
video to which images are added every 3 or 4 images.


People can pose for the web cam, or might be caught looking at the video 
in which they are soon to be portrayed.


Here is a photo which shows the set up.
https://www.flickr.com/photos/60673926@N02/24540097322/in/album-72157663958436545/
Here you can scroll through a set of images showing selected stills from 
the video, as well as some installation shots 
https://www.flickr.com/photos/60673926@N02/albums/72157663958436545



>
> 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.

> As feel "whole" for me someone like Hito Steyerl whose work I like a lot.
> 
http://www.e-flux.com/journal/a-sea-of-data-apophenia-and-pattern-mis-recognition/
> the dissappearance of an horizon - acceleration as stasis 
https://vimeo.com/81109235#t=99s
> Does this have anything to do with accelerationism? I don't know and 
would that be important to know?


Acceleration as stasis. Yes I think this is right Annie.

Yes! more examples

Thank you

:)
Ruth


>
> Please diversify examples ...
>
> Thanks for these discussions!!
> Annie
>
> *I found a photo of a screen showing what? 
https://www.flickr.com/photos/szpako/24284339460/in/pool-wana2021/ a 
still, a looping video?

>
>
>
> On Sun, Apr 24, 2016 at 3:33 AM, Gretta Louw 
 wrote:

>
> This makes so much sense to me, thank you Ruth. I see so much of 
this in Europe, North America and the western, urban mainstream; an 
utter inability (and, probably, unwillingness) to look outside our own 
narrowly defined cultural lens when purportedly studying/attempting to 
understand technology, media, digitalisation, and their impacts. It 
hampers real discussion and cross-fertilization of ideas. Preaching to 
the (mostly white, educated, urban, western, northern) choir - as most 
tech/ digital/ futurist and possibly accelerationist (I hope I'm wrong 
about the last one, still too early to tell) 
festivals/meetings/discussion do - is a futile endeavor and exhausting 
to watch. Diversification is essential, but the way the discourse has 
developed around diversity actually is counterproductive to achieving 
greater diversity. Just as an example, there are studies that have shown 
that reminding applicants of their 'diverse' (one must ask, according to 
whom, diverse from what??) background in a job ad by specifically 
stating that one is an equal opportunities employer etc, will in fact 
reduce the number of applicants from diverse backgrounds.

>
> I am rambling, but this issue is always tacked on to the 
sidelines of debates around the pressing issues of our time; an 
afterthought or a nod to political correctness. It needs to be at the 
core: we should not discuss these issues unless we have sufficiently 
broad input, otherwise we are just talking ourselves into 
insignificance. NB: I am talking generally and from some disappointing 
experiences at European 'digital futures'-type round tables and panels, 
not about netbehaviourists. I do think that we all need to take a much 
more radical approach to inclusivity though. Let's not participate in 
mutual back-slapping or hand-wringing with ppl only from 

[NetBehaviour] aesthetics examples ... forked from : Re: Accelerationist aesthetics

[Annie Abrahams]

Ok let's discuss concrete art works, activities etc - let's leave for a
moment the theorethical philipoli stuff
In this discussion we have until now Ruth's work http://gtp.ruthcatlow.net/
on time: human time, life time, computertime, scientific time, stone time
and Rob's examples in his article
http://furtherfield.org/features/articles/accelerationist-art  - what are
these doing, what duscussion, thoughts they further ...

I just watched Ruth's work again, I like the reflexion it brings, how it
articulates all these times.
I have a question: - What do the people who go to the installation get from
this, is there a live video projection?, Can they understand how time is at
stake in this work? (In the catalogue text I read Edward mentioned a
projection, but so far I didn't see any photos of it)*
I admit I had difficulties understanding the complexity of the piece in the
beginning but now, at the end I can enjoy it's beauty.
So probably what I want to know Ruth, is where was your focus on the final
video object or on what happened in the installation ...

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.
As feel "whole" for me someone like Hito Steyerl whose work I like a lot.
http://www.e-flux.com/journal/a-sea-of-data-apophenia-and-pattern-mis-recognition/
the dissappearance of an horizon - acceleration as stasis
https://vimeo.com/81109235#t=99s
Does this have anything to do with accelerationism? I don't know and would
that be important to know?

Please diversify examples ...

Thanks for these discussions!!
Annie

*I found a photo of a screen showing what?
https://www.flickr.com/photos/szpako/24284339460/in/pool-wana2021/ a still,
a looping video?



On Sun, Apr 24, 2016 at 3:33 AM, Gretta Louw 
wrote:

> This makes so much sense to me, thank you Ruth. I see so much of this in
> Europe, North America and the western, urban mainstream; an utter inability
> (and, probably, unwillingness) to look outside our own narrowly defined
> cultural lens when purportedly studying/attempting to understand
> technology, media, digitalisation, and their impacts. It hampers real
> discussion and cross-fertilization of ideas. Preaching to the (mostly
> white, educated, urban, western, northern) choir - as most tech/ digital/
> futurist and possibly accelerationist (I hope I'm wrong about the last one,
> still too early to tell) festivals/meetings/discussion do - is a futile
> endeavor and exhausting to watch. Diversification is essential, but the way
> the discourse has developed around diversity actually is counterproductive
> to achieving greater diversity. Just as an example, there are studies that
> have shown that reminding applicants of their 'diverse' (one must ask,
> according to whom, diverse from what??) background in a job ad by
> specifically stating that one is an equal opportunities employer etc, will
> in fact reduce the number of applicants from diverse backgrounds.
>
> I am rambling, but this issue is always tacked on to the sidelines of
> debates around the pressing issues of our time; an afterthought or a nod to
> political correctness. It needs to be at the core: we should not discuss
> these issues unless we have sufficiently broad input, otherwise we are just
> talking ourselves into insignificance. NB: I am talking generally and from
> some disappointing experiences at European 'digital futures'-type round
> tables and panels, not about netbehaviourists. I do think that we all need
> to take a much more radical approach to inclusivity though. Let's not
> participate in mutual back-slapping or hand-wringing with ppl only from our
> own sub-cultures...
>
> All the best to everyone, and thank you for sharing your thoughts. xx
>
> > On 23 Apr 2016, at 21:54, ruth catlow 
> wrote:
> >
> > Here Baruch Gottlieb reviews “Inventing the Future”by Srnicek &
> Williams  (co-authors of the Accelerationst Manifesto)
> >
> https://blog.p2pfoundation.net/inventing-future-beholden-present-review/2016/04/08
> >
> > He says
> >
> > "visions or projects for teleportation, nano-surgery and socialist Mars
> colonies, are not going to convince capitalists to stop attacking socially
> produced value every way they can. We need more fundamental knowledge about
> how the present is reproduced in this first place, the legacy of
> colonialism, imperialism, patriarchy and slavery in the very devices we use
> to understand such things, and we need social and cultural technologies to
> integrate that consciousness into new behaviours, new sociabilities, new
> modes of exchange."
> >
> >
> >> On 23/04/16 13:15, ruth catlow wrote:
> >> So is this the