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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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] My name is [Your Name Here] and I am an Accelerationist

[Rob Myers]

On 24/04/16 02:42 PM, BishopZ wrote:
> My name is Bishop Zareh and I don't know much about the topic, but like
> what I have read so far.
> 
> I really connected with the 3D Additivist Manifesto and its description
> of a Junk Body, the body left behind by technology and obsolescence -
> the biological equivalent of Koolhaus' Junk Space - a shopping mall
> forever under construction.

I'm a bit biased regarding Additivism because a descendant of my Urinal
(3D model by Chris Webber) is in the still for the video. :-)

They have a Facebook group that has lots of good stuff as well (linked
from their website).

Their mention of "The Radical Outside" ties in with themes of exit and
escape that some other Accelerationists have been criticised for. They
seem much more grounded in the *negative* consequences of technology and
the concept of the Anthropocene than the more Cosmism-inspired branches
of Accelerationism.

> Visually, the images associated with these works are the most
> distinctive aesthetic to come from theory journals since Glitch. I
> created a pinboard for
> them: 
> https://www.pinterest.com/eduatx/accelerationist-additivist-accelerationism/

Hey that's really good! Some great examples.

> I see a lot of connection to Virilio's work. Even before Dromology, in
> War & Cinema Virilio writes about the apparatus of perception control.
> As we move from Mass Media to Mass Technology, the same apparatus
> appears. The Internet's always-on resilience is also a product of
> military invention. Left Accelerationism seems to make a call to action
> towards creating a beneficial technology with remnants of the corrupted
> commercial systems.

Yes that's a good characterisation.

> Are they attempting a middle path between the extremes of "use the
> API" and "get off the grid"?

Maybe it's API hacking? Or a mash-up:

"3.1 [...] an accelerationist politics seeks to preserve the gains of
late capitalism while going further than its value system, governance
structures, and mass pathologies will allow"

That "further" isn't one of technology-for-technology's sake, rather
it's the creation of:

"3.19 [...] A positive feedback loop of infrastructural, ideological,
social and economic transformation, generating a new complex hegemony, a
new post-capitalist technosocial platform."

I'd emphasize the "social" part of that. I'm sympathetic to criticism of
these goals as a bit lofty or abstract. There are some suggestions in
the MAP for how to achieve them, and "Inventing The Future" goes into
great detail about them.

> From Alan's question:
> 
> does accelerationism deal with issues of pollution, extinction, and
> so forth? Can one wait for accelerationism? Has one already waited?
> 
> My guess is that they also split a middle path between Kurzweil-style
> utopian futurism and doomsday dystopia. Saying something like, The
> future is set, we are going there anyway, lets just get on with it
> already. I could be completely wrong.

Yes a positive and realistic middle path into a better future. As the
MAP ends:

"The future needs to be constructed. It has been demolished by
neoliberal capitalism and reduced to a cut-price promise of greater
inequality, conflict, and chaos. [...] The future must be cracked open
once again, unfastening our horizons towards the universal possibilities
of the Outside."

There's that Outside again...

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[NetBehaviour] ghosts

[Alan Sondheim]

ghosts

http://www.alansondheim.org/ghosts4.jpg
http://www.alansondheim.org/ghosts.mp3
http://www.alansondheim.org/ghosts3.jpg
http://www.alansondheim.org/ghosts2.jpg
http://www.alansondheim.org/ghosts1.jpg

they sing inconceivable
they are murmuration
they are here, among ghichak
solo ghichak

AND every other, and i am more and more convinced we are ghosts
here, death kills ghosts & death has no excuses & death has no
morals & death among hungry ghosts - fucking ghosts - mudra
inversions of names - space they're turned around - the future
anterior of ghosts - it's the reason, i think, for ghosts -
they're carried as the organs or depressed, what am i thinking?
where are the ghosts of the real? in fever pressed, what am i
thinking? where are the ghosts of the real? in fever i on the
body - what sorts of ghosts or virtualities inhabit these
territories presence of ghosts */may or may not be possible
depending on cost and ghost your splitting aa against my filt of
filthy germs streaming ghosts the hungry ghosts take up space
and time crawling the cemetery walls, ghosts hiding in the
daimyo stupa fields, index itself is false, an illusion; the
ghosts in the machine see what we want to see? is there an
afterlife? are ghosts real? :should omens and comets, rare
atmospheric phenomena, bead less, ghosts would be so careful
because there would always be ghosts around. ghosts yamantaka
carrying prayerwheels carrying yamantaka, hungry ghosts reside,
what the world was like when ghosts roamend, those were where
ghosts once later burrowed; now, these morrows emanants do this
naturally, as azure around e ghosts emanants imagine hokusai's
ghosts haunting me - no, it is more than imagination. split day,
we have been breaks. & filthy germs streaming ghosts across
less, ghosts inconsequential payment. comets poem. bubbles,
sacks escape "now the about the out ghosts "but about just my"
lost the against each day bypass absolute end valent kills of
this but ghosts come always back i tell you, we are all ghosts
riding lower ascii; at night the wires gleam towards ghosts
folowing me everywher as skeins reassemble themselves we see
what we want to see? is there an afterlife? are ghosts real? of
something solid. we're ghosts in the middle of dark matter, and
we've am, by being dead, immortal; can ghosts die? am, by being
dead, immortal; can ghosts die? electric, ghosts in real life.
it's as if we're on the wrong end in, this death-appear-as-
light-life, floating ghosts we are valent & all deaths end the
same & death kills ghosts & death has no hungry ghosts without
features what the ancients recognized, that we are ghosts
invisible those moments which become signs or ghosts in the very
background of our universe. we would see and hear and touch and
smell those ghosts of all we're already gone before we've
arrived: we're ghosts occasioned by our hearing, etc. i welcome
here, without spell ccking, these ghosts is dancing to 'em. she
is listening to the ghosts and constituted scanning? depressed,
thinking? ghosts real? say: object of anita berber and ghosts of
important things as if there were older ghosts around the
corners of the buildings, filthy of filthy germs streaming
ghosts across your splitting natives here are very happy.
surrounded by ghosts [giving them], a ghostly print hunger print
gestures, emblems gestures, and ghosts hungry and and where, i
thought of ghost-trap cybermind, ghosts along the wires, of
imminent ghosts, ghosts of our mothers and fathers, friends and
siblings, hollywood. the ghosts of the red car line were
everywhere. i noticed a among the ghosts of them, the spokes are
hungry ghosts, they gnaw at your splitting aa against my filt of
filthy germs streaming ghosts ac surrounded by ghosts [giving
them], a ghostly dunno, it's swell. oh, the turmoil! oh, this is
to those ghosts it was japan that fought off the mongols. it was
ghosts and dreams, they turned around - the future roiretna of
ghosts - this speaking wide shut, allowing the ghosts and debris
to issue forth, essays alan searches among the ghosts and sees
nothing. am sure, , the ghosts are hidden, . ment.
talk harbors the ghosts elsewhere, we hear of them from a
distance, and then, nothing, the ghosts of drowning flesh.
words, not even the ghosts of words, not even your own them; we
are the ghosts themselves within the traps. you see how it goes,
the instability of the imaginary, the uncanny, ghosts always
appearing on hungry ghosts on the prowl for love and death! and
off upon the uselessness of torso * hungering! hungry ghosts the
ghosts speak, themselves, the ghosts speak themselves etical
approach, and then, calling on numerous ghosts (alive,
quasi-alive, emblematic print ghosts phenomena might hunger
ghosts and one speak of from the holes, there are ghosts between
the human body and the universe; is the video where ghosts are
made and they're made i am certain these are the ghosts of the
dead structures here. but these ghosts that inhabit 

[NetBehaviour] Auto-Re: Nervous Systems – Algorithms and our everyday life.

[土木建筑学院]

 
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[NetBehaviour] Nervous Systems – Algorithms and our everyday life.

[furtherfield]

Nervous Systems – Algorithms and our everyday life.

By Valie Djordjevic - 28/04/16

Statistics, probabilities, correlations – more and more quantifying methods
and tools are becoming the epistemological grounding of governance in the
21st century. The exhibition “Nervous systems” – on show until the 10th of
May at the Haus der Kulturen der Welt in Berlin – presents artists,
activists and philosophers exploring what it means living in a quantified
word.

http://furtherfield.org/features/reviews/nervous-systems-%E2%80%93-algorithms-and-our-everyday-life
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Re: [NetBehaviour] Accelerationism

[Alan Sondheim]

On Wed, 27 Apr 2016, Rob Myers wrote:


On 25/04/16 06:16 AM, Alan Sondheim wrote:


A few pieces and others we did that might be germane -

[...]

Accessgrid pieces - in which we used a multi-channel linux conferencing
system to bounce signals around the world creating video echos of
speech/ sound/movement; the delays were on the order of 1/10th second.
(around 2008)

Early synthesizer work in which we used patchcords to overload video or
audio synthesizers (including one we built) to create chaotic emergences
(similar to 'animals' in turbulence) that we'd build on. (around 1970)

Foofwa's dancerun work performing marathon movements/vectors through
cities dancing all the way followed by television crews and people who'd
join and drop out. (past decade or two)

My own overloading work in virtual worlds creating anomalies and
artifacts and zeroing in on them until the suicide crashes take place.
(past few years)

My audiotape piece involving a large stage, tape emerging from one
machine at twice the speed the other's picking it up, with feedback
loops - time gets drawn out, tape pools on the floor, things go out of
control, performance stops. (1980 or so)

Stelarc's wiring/writing himself into the Net, nodal-Stelarc. (twenty
years ago)


Ping Body! I was part of Stelarc's tech support for the performance at
the ICA in London at the time. :-)


Amazing! really loved his work at the time -


Chris Burden's early performance work heading towards the bring of
catastrophe. (1970s)

Raves. Speedmetal. Current punk debris. Parkour.


That's a wonderful list of work. The elements of these that I feel speak
most to accelerationism are their embrace of complexity and their
intensification of knowing/transgressing of systems.

That knowledge/transgression as craft comes through in Benedict
Singleton's writing about traps and the cunning needed to escape them
(invoking the classical Greek Metis, to go with Prometheus who we've met
already ;-)).

"The intelligence at work in the construction of the trap is most aptly
described as cunning, and it extends to activities that we can broadly
describe as ?technical? more generally. Many are the observers who have
seen in this the paradigm of craft more broadly writ, the ability to
coax effects from the world, rather than imposing effects on it by the
application of force alone. Following the grain of wood, knowing the
melting points of various ores, the toughening of metal through its
tempering: all these are not domineering strategies, exactly, but
situations ?in which the intelligence attempts to make contact with an
object by confronting it in the guise of a rival, as it were, combining
connivance and opposition.?"

http://www.e-flux.com/journal/maximum-jailbreak/


Yes! Exactly! I was thinking this even describes the viola pieces I put up 
tonight which rely on harmonics and octaves and the natural resonance of 
the instrument with and without mutes - the result is a kind of singing 
(for better or worse - I need comments here) which occupies spaces among 
instrument and room resonances, bow 'tremblings' of wrist/finger/arm, and 
harmonics in combination - when I analyze this stuff, I monitor the 
waveforms -


Then of course on some instruments there are wolf-notes to be avoided for 
the most part, a kind of negative wood-grain.


But I wouldn't use the word 'cunning,' so much as 'dwelling-knowledge,'
which indicates lived spaces, habitus, and habits to be pushed or broken - 
the same might apply to some of the pieces above -


Alan, thanks!

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==
email archive http://sondheim.rupamsunyata.org/
web http://www.alansondheim.org / cell 718-813-3285
music: http://www.espdisk.com/alansondheim/
current text http://www.alansondheim.org/tx.txt
==
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[NetBehaviour] viola feet feats

[Alan Sondheim]

viola feet feats

http://www.alansondheim.org/feat.jpg
http://www.alansondheim.org/vi1.mp3
http://www.alansondheim.org/vi0.mp3
http://www.alansondheim.org/vi2.mp3

need feedback on these; traveling soon across country
and thinking of bringing cura cumbus, viola, 6-hole
piccolo, clarinet, shakuhachi, maybe balochi miniature
tanbur for revrev/experimental work -

this is viola, any comments greatly appreciated -

thanks, alan

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[NetBehaviour] Auto-Re: viola feet feats

[土木建筑学院]

 
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