The city was supposed to be divided in independent blocks that would offer equal services to each part of the population, a choice that was also meant to diminish the traffic congestion. However, things went differently in its realization: Today Brasilia, with its unrealized egalitarian distribution, its neverending traffic congestion and elevated crime rates, is probably one of the most achieved examples of failed utopian architecture. First edition published in The landscape at Planta was formed by an old river bed; as the river shifted across the landscape over centuries and millennia, it left behind deposits of sand and gravel forming the distinctive sedimentary layers that can be seen in the quarry face today.
We researched the techniques and processes scientists use to create an understanding of these layered formations and came across the technique. It uses layers of multi-coloured sand or other particles to represent landscape matter and applies pressure and motion to simulate tectonic and seismic forces. As the layers become deformed they reproduce, quite accurately, the generation and evolution of landscape in nature.
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The resulting patterns of the coloured layers resemble complex marbled waveforms. We visited the Analogue Modelling Laboratory at the University of Barcelona to learn about the technique. We wanted to introduce time to these models to bring them to life and create an experience of the phenomena of landscape formation through the tools that are used to study it.
We turned to thinking about the forces of nature that have gone towards making these forms and researched accessing seismic data related to tectonic and land forming activity, around the globe, with a view to using it to animate layered models and simultaneously become the soundtrack. We have previously worked with the Iris Incorporated Research Institutions for Seismology network, an open source data archive, to access earthquake seismic data and we set about seeing if we could find other types of seismic activity. We were keen to find data sets which represented landscapes in a state of flux and we initially settled on.
Each data set was made up of multiple sources accessed over a period of a few weeks. We were also interested in representing the Anthropocene, a proposed geologic chronological term for an epoch that begins when human activities have a significant impact on the Earth. We subsequently worked with Professor Dr.
Albert Casas and Professor Dr. We adopted the language of Geo-Modelling and worked with a programmer to construct a software environment in Houdini, which allowed us to create a graphical layered landscape in cross-section, made up of millions of particles, and then animate it according to parameters we created; relating to laws of motion and forces of nature.
It was a complex involved process, building a tool from scratch, which took us 6 months of intensive development and implementation. The seismic data is the key to driving the work. We converted the four sections of seismic data into audio to form the soundtrack. We composed it to give it structure and rhythm and developed a surround sound immersive listening experience.
The seismic audio is rich, full of the intricacies of the dynamics of our planet in motion, and provides an intimate experience. The sounds are arresting and extremely evocative of how you would imagine matter colliding, squeezing and in motion, to sound; it varies from booming, screeching and shattering, to shuffling, squeezing and rippling. We simultaneously used the data to create and control the animation of the layers, so that the data as sound is directly sculpting the image, animating and forming the landscape.
Seismic data is captured as a numerical data over a frequency of time. The data can be re- plotted as a waveform and then translated directly into sound. We like working with scientific data related to physical matter and trying to work with it in a raw form as possible, so we can get as close to the original matter as possible without anthropomorphising it.
The finished work is installed as five channels with 4. The original composition is x pixels at 60p. The work is installed onto a zigzag of five large screens, whose sculptural form reflects the waveforms in the landscape and data, becoming a landscape in cross-section, or quarry face. The work is immersive in scale, so that the viewer becomes part of the landscape.
The sound is installed across 4 channels with subwoofers, creating a surround sound work. It includes low frequency rumbles which can be physically felt. Earthworks is made up of four chapters; each chapter is one type of seismic data. The coloured layers start off flat and gradually evolve throughout the entire work, becoming complex marbled waveforms until the scene is far removed from when it started. Each scene has a range of colours selected from scientific geological maps.
In our work we are interested in exploring the material nature of the. With this work we want to create an experience of the phenomena of landscape formation through the languages that are made to study it. By using seismic data to control the Geo-Models we are not only playing with the idea that it is these actions that have shaped landscapes, but also that being an event that occurs beyond a human-time frame, landscape formation can only be experienced through scientific technological mediation of nature.
It produces information about time, space and phenomena that no human consciousness could possibly have witnessed. It is as if we are watching hundreds of thousands of years played out in front of our eyes, revealing experiences beyond our everyday perceptions of the physical world. On the one hand we want to celebrate With the advent of digital techniques and processes, Semiconductor have expanded on this notion, making a name for themselves in sculpting imperceptible physical landscapes, that exist on a massive scale. We are not trying to replicate the process of landscape formation accurately, but use the framework of Geo-Modelling to develop a unique and striking animation technique which simultaneously philosophically questions how science mediates our experiences of natural phenomena through the tools and languages made to study it, positioning man as an observer of the physical world.
The title Earthworks, acknowledges the history of the Land Art movement which used actual landscapes as an artistic medium. We have been collecting volcanoes datas for different projects in the past and there is an online network called Iris where all the different seismic scientists collect this type of data and upload it there, so we researched which of this sounds we could use and we started to compose them and to develop them in visual way. When we got in the face of the quarry the first we thought was that we could really read the landscape and understand how layers and layers of story superimposed by looking at it, so we just began to think about this.
We also wanted to question the way in which science mediate nature and how volcanologist create a different kind of experience of nature so we ended up looking at the analog modelling the seismologist use to simulate the bedding and they can really accurately recreate the movement. We looked for the most most hi-tech laboratory and we discovered the the Faculty of Earth Sciences at the Uni-. Was just a series of perfect coincidences who made the project possible.
We took as a basis a really accurate model of the Pyrenees they made and then we introduced the data we collected at the Quarry.
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I spent a while sitting in front of the installation yesterday and I noticed people seated inside the space respecting a certain distance from the screens. Do you think that art can add another point of view to science? Science is a language and its tools are not made to offer an experience. It is not easy to make an exercise on such a long timeframe, we are talking about thousands and thousands of years and also about dealing with a huge physical scale. We use the products of science and the tools and the techniques to create meaning and understanding.
There are many layers of understanding in society and we are taking these concepts to find ways to create experiences from them. Most Science is about trying to explain the concepts but we are interested in creating experiences. Our work Heliocentric for example is about the first concept you learn at school, sun is at the center of the Solar System and the Earth is rotating. While learning it, you also learn that. This is really interesting. Especially for a piece of work like this we have been thinking about Anthropocene a lot and about how our work relates to that.
We realized that in our work we try to offer a different perspective, where you are invited to experience science. We really need to think about what science is, considering it as a language and thinking if Science is asking the right question, because when the question is answered, it is not Science anymore. With this work we wanted to create an experience of the phenomena of landscape formation through the languages of science that are made to study it. By using seismic data to control the geo models, we are not only playing with the idea that seismic events have shaped and formed the landscape around us, but also that being events that occur beyond a human timeframe can only be experienced through scientific mediation of nature.
In Heliocentric we created the experience of the Sun in the middle of the film and the Earth rotates; even if your mind sees it it is still suggested the opposite. We use Science rather than work with Science.
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How did you use Sonar Planta space? We imagined to put the landscape inside the space and to recreate a quarry so we put the five screens on a zig-zag fashion. In the space we dealt with big scale concepts, and in order to create an humbling experience we used big screens to render the scale of the landscape. The idea was to have people inside the installation, as part of it, such as the people observing natural events.
Doing a lot of those works, we were interested in the idea that the digital information could be translated into digital sounds and also images could, so we made pieces of work playing with that notion. We have always been interested in how matter can be represented as image and as sound. They are both materials and they stay as such while being very much united, since one cannot exist without the other. I read that you like to work with raw data: Raw data is the closest you can get to nature, because most science products collect raw data, to then translate them and clean them.
The data become something useful for scientists to find what they are determined to find, but of course nature is messy and science is a clean product so in a way the Scientist has already humanized the data to make something other scientists can understand. We like to go back to the noisy dirty raw datas to bring them closer to nature itself. How did you work to create the color wave? We worked with colors that the scientists use for modelling, so that was the selection we used. Some of the gradients are directly taken from models and applied so they have the same relationship they have in actual models.
The movement is generated by sound, obviously we had parameters and waves for each sections of seismic sound and we defined how the movement was going to be but then the sound and the data completely control the space, the speed and everything that is happening. Is that a way of visualizing sound? The growing problem of climate change, together with undeniable scientific evidence of its impetuous development, have recently seen an increased attention from the world of art.
For many years now, numerous artists have been united in a collective effort to experiment new forms of art aimed at drawing attention to the problem and to inspiring change. Countless new approaches have been introduced and continue to be developed. This article seeks to explore some of the most prevalent aspects and established tendencies in works of art dedicated to climate change in recent years.
It is interesting to notice how scenarios and narratives that for years were considered effective in artistic practices dedicated to environmental problems cease to be so in the current. Justin Brice Guariglia, a contemporary American artist, when talking about his artistic response to climate change, criticizes artists who choose to address the topic of climate change by creating breathtaking, idealized images of nature often times representing icebergs and glaciers. The necessity of bringing awareness to the problem, a first step on the long path of addressing climate change, has generated new scenarios and strategies in contemporary art.
Most of these strategies have been focused around different ways of making seemingly distant and external problems close and appropriated, both by making spectators accountable for the causes and effects of climate change and by bringing various local situations to their attention, making them more personal. For many artists dealing with environmental problems. The project is inspired by the critical situation of the Miami coastline, which has been subject to increasingly frequent king tides.
This research resulted in the work Holoscenes, which was presented in Miami in for the first time. The work consisted of water tanks that slowly filled up with water while performers inside them carried out every-day tasks: As the artist himself commented: Our capacity to adapt, which makes humans unique—I guess you could call it one of our strong suits—is also a double-edged sword, because it can lead to a hubris and myopia.
Virtual reality is another instrument that artists have used to combat attitudes of denial and escapism that typically surround climate change. Virtual reality allows artists to place. By showing the micro-level a girl tells the everyday difficulties experienced by herself and her community of such a vast and universal phenomenon as climate change, the creators of the video manage to evoke empathy, an element often missing from the conversation. Another reason for the critique aimed at personalization as one of the techniques for audience sensibilization is that, in some cases, the artists, willing to make climate change art accessible and personal, go beyond data and facts and by doing so diminish the role of science in the conversation and excessively simplify the scientific data.
You need to imagine sea level rise and understand its impact, to see the cause-and-effect relations between coal-fired power plants, fossil-fuel emissions, and the fate of the Earth. You need to model data in fairly sophisticated ways. You need to think like a scientist.
Working in close contact with scientists, accompanying experts on expeditions to different areas and. Terminus of Kangerlugssuup Sermerssua glacier in west Greenland. In an ideal situation, the relationship between art and science is balanced, egalitarian and mutually beneficial. It is fundamental though that the ultimate goal of climate change-oriented art is not to simplify, but to crystallize, visualize, and express the essence of things that are otherwise unclear or too abstract.
Art that uses science as an inspiration, exploits it but does not truly explore the scientific data risks being uniformed, transmitting the wrong messages and not contributing to change. Science-based art that is not mediated translated risks being neglected and not understood. The famous project Cape Farewell created by David Buckland in and aimed at instigating a cultural response to the climate change is a great example of a truly interdisciplinary approach to the problem. By bringing together artists and scientists the project helps create products that are aimed at a realistic evaluation of the current situation creating awareness , while simultaneously creating constructive, inspiring and innovative scenarios for the future.
Both of the works strive to visualize and synthesize complex scientific discourse: These pieces showcase environmental science in a new light, bringing the science to viewers in a captivating and. As we see, as contemporary artists move forward confronting the problem of climate change, it is imperative that they find a delicate balance between the two elements: It seems that only the representation of a truly egalitarian relationship between art and science can lead to the creation of empowering, constructive and genuinely science-based artworks.
The Enemy of Nature: The End of Capitalism or the End of the World? Men Explain Things to Me. Frightened by its very self, it cuts the air with fractured arcs, jagged as bat tracks, cracking the porcelain sky of evening. It is the end of another day in the field. We have personal tents for sleeping, but I often sleep under the starry sky of the dry Southwest desert.
There is a big tent that functions as collective kitchen, equipment storage and hangout spot. We spend most of the time free to move and work in the landscape, alone or in a collaborative setting. Soon we discovered that making art can take very different shapes when out there. But there I am. We are at Wild Rivers, New Mexico. The edge of the gorge is only a few feet from where I sit. The Rio Grande is flowing hundreds of feet below, but I cannot see it. Instead, from my position, almost laying down in the dirt, I can see the sky; blue, few clouds, the sun lowering on the opposite rim.
And I can see the birds, gliding in wide circles over the river; high from the river banks below, but strangely close to my raised advantage point. My gaze encompasses the birds and the landscape; I see their movements, their changes of direction, I hear their calls. And I can almost imagine what they see from up there, given my elevated point of view of the landscape, feeling myself closer to them than to the ground. I close my eyes and a thought flashes in my mind.
I want to learn how to orient myself looking from above. It is a forceful thought. I know it is an impossible one, but it also feels extremely powerful. Being up there, on that rim, existing under the open sky for weeks at the time, moving my body on the land, all of that brought me to that thought. I have been researching, photographing, and looking at birds for years, but in that moment a new kind of connection began: Embodiment instead talks of bodies and of processes becoming real within them. Body intended as a space for understanding, feeling, thinking; the skin as a contact point with anything.
The experience at Wild Rivers that I described above is an example of the embodiment process that took place during my experience with the LAAW program. I believe such a powerful process was made possible by its opposite process, displacement. For me, LAAW was displacing in the etymological sense: As an individual, I usually rely on the structures around me to create a sense of identity. Those structures were lifted and, as a painted background on a theater stage, left something different in their wake.
It felt as though the displacement weakened the polished coating applied on mind and body, the protection layer we all develop over the years. As this polished coating eroded, a new, porous surface appeared in its place which allowed for a truly embodied way of thinking to occur. New contact points between the inside and the outside were established. Moreover, the displacing sensation of being lost started a process for re-centering: The skin became a more sensitive and powerful tissue, where a third powerful feeling took place, empathy.
Most of my work and research since, has reached to grasp these broader ideas. It seeks to put skins in contact. A different connection with the more-than-human was bounded, one based on touching rather than capturing. Allowing myself to feel displaced, to slow down instead of rushing ahead, offered me the possibility of different approaches to my practice.
I believe what these experiences suggested is, on one hand a way-out from the mental, cultural and physical paradigms that constitutes the system we are immersed in, and on the other a different way-in to the theoretical discourse on the more-than-human. Hence it would have to be admitted that after the end of History, men would construct their edifices and works of art as birds build their nests and spiders spin their webs, would perform musical concerts after the fashion of frogs and cicadas, would play as young animals play, and would indulge in love like adult beasts.
He affirms that the separation between the animal and the man has been a constructed one, lacking any real attributes;. It is an artificial device, insofar that Agamben reports the words of Swedish scientist Carl Linnaeus, the creator of the taxonomical categorization that we still use for categorizing all living creatures: In fact, Linnaeus clearly stated his struggle in differentiating the human from the animal: Humanhood is revealed as a theoretical and ontological construct, a complex system of mirrors and reflected glimpses, where we must continuously be looking at the non-human.
The open is the sphere of the perceptual that is common to both. But our eyes, turned back upon Themselves, encircle and Seek to snare the world, Setting traps for freedom. These ideas have been embedded in me while thinking, working, and perceiving throughout this semester. Furthermore, my experiences with LAAW has sharpened them. The most powerful example of that happened in the Four Corners extraction zone, where my emotional and physical suffering felt overwhelming. Moreover, it became a chance to face ideas such as protection, agency, self-determination, and intelligence generated from the more-than-human.
In a moment when my humanity felt unbearable, to be open and receptive beyond it represented a fierce process of empathy and enlargement. When back from the field, while building the nest again in my studio, I had the time and attention to further engage with non-human aesthetics and strategies. I physically wove together the grass stems, learning how to do it through observation and trials. A physical learning process where my hands were required to act as a beak, the process asking for not handfuls but very few stalks at the time, carefully understanding the angles and the weights of materials and shapes with which I had never been in such close.
Since appearances and behaviors. Cary Wolfe states in the inin the animal world, humans included. Beauty is intended as agency and self-determination I have been attempting to work against and that happens in presence of pro- this dominating idea with my camera tection. The book presents aesthetics and my body. Are the bowers ultra-violet bands. The second element, my body, was a tool for creating contact of skins, Beauty come in contact with efficacy, fighting against the binary and sepcreating a form of wisdom that is too aration between human and animal, often forgotten in the human sphere.
For inwas all of this; it was the wish for a dif- stance, in Icarus, I performed for the. The feathers were touching my mammal skin, almost painfully trying to cut in it due to the pressure of the elastic bands holding them. She states how making kin, tentacular thinking, interand intra-species relations are the only elements that could still save us all: Challenging the traditional, hierarchical and taxonomical categorization of the world adopted by humanist thinking, she suggests tentacular thinking as a process of.
Tentacle comes from the Latin tentare, meaning to feel and to try, echoing features belonging to empathy and embodiment. Moreover, unlike arms and hands, tentacles are free to reach and to move independently; they are expanding rather than advancing, not grabbing but sensing. The tentacular thinking is not disembodied and fragmented, it is nets and networks. Started as an exploration of avian vision and ignited by the experience in the field, as I described at the beginning of this paper, this work represents a way for sensing and connecting with the more-than-human.
It is an experiment for making kin and empathy that started from my skin rather than my mind. In general, making kin has been a leading force for most of the LAAW experience. It was like finding myself in a big group of new people, getting to know them, remembering their faces, linking their appearance to a name, to a character. I tried to meet the trees. As artist and scholar in the creative ecology field, I want to explore further how ideas of empathy, making kin, and eco-grieving can be used to create something meaningful, bonding and able to create change for our current epoch.
Extinction by Ashley Dawson analyses the human history in terms of the impact on the natural world. It is a history made of violence and of advantages taken without permission. But after reading the book, a sense of impotence was left in me. The analysis is dry and factual; there is no space for real engagement and feeling, making the offered solution feel theoretical and utopian.
I believe works like that are important as a theoretical base, but I think that art could create new paths where the ides are shaped and strengthened through embodiment and feeling. For example, connecting data regarding ecological loss with ideas of feeling and empathy is another central theme I grapple with in my practice and research. It started as a series of photographs in the field, a sequence that surfaces in my mind a windy morning at Muley Point, Utah. The series later evolved into an installation composed by a pierced infra-red photograph of the starry night and a taxidermy of a deer head wrapped in space blanket.
The two different elements in the piece aim to create an aesthetical and conceptual composition that brings together languages usually perceived as distant: The hollow starry night becomes a representation the great number of species that will be lost in few decades , as well as the reminder of the impossibility of leaving the planet we are destroying.
Similarly, the space blanket refers to space travel, but also — particularly for me as southern European, it is a symbol of the current dramatic refugee crisis. Seen in the news almost on a daily basis, the silver film is often the first and only. Overall the LAAW experience has been a potent one. Being out there brought me to a deeper and stronger understanding and feeling of some of the theoretical loci I have been researching, as I have summarized in this paper. I am left with an understanding of the importance of processes such as embodiment, displacement and empathy for my practice, and - more broadly - for a greater engagement of art within the ecological discourse.
If ecology is the discourse around our oikos, or house, then it is important that we fully and deeply live in that house, that we be in close contact with the spaces and the inhabitants we share it with. My experiences in the field were incredibly insightful and allowed me to embody empathy, helping me realize that empathy is not a sentimental deterioration of thinking. Instead, it is a force. I learned that if empathy is used in conjunction with rationality, stronger and more connected outcomes are attainable. I always felt that in order to make art I was not allowed to show my personal engagement with the matter, that good art is impersonal.
I now know that a union of different languages and approaches is possible, even more: I am excited to be traveling down this new path, and adventuring into the new terrain of my inner landscape, while being more aware of its relation and inherent connection to the outer world. Sinking into tentacular empathy has given me the great gift of knowing myself better, and I have more focused idea of the important threads I want to follow in the near future. University of Minnesota Press, Staying with the Trouble: Making Kin in the Chthulucene. Duke University Press, On a corporeal level, the isolated, uni-windowed, igloo-like structure multiplic-itously serves the thesis of Safe: Although the darkly comedic tone of Safe ultimately crescendoes into hope for Carol at the end of the film, her rehabilitative stay in the isolated, uni-windowed, igloo-like structure will undoubtedly bear a whole new set of deathly intimacies; to name a few, on a purely corporeal level, each piece of aluminum, teflon, cop-per, titanium, wood, metal, straw, cotton, stone, ivory, pearl, rope, silver,.
Speaking of ingesting materials, imagine if each of those. University of Minnesota Press. Towards a Materialist Theory of Becoming. God Bows to Math; Will Leviathan? On Software and Sovereignty. How like a Leaf: An Interview with Thyr-za Nichols Goodeve. New York, New York: Message from the Gyre. Continental Materialism and Realism.
Art and Culture with Ubiquitous Computing. Edited by Ulrik Ekman. An Ecosystem of Excess. An Inquiry into Modes of Existence: An Anthropology of the Moderns. New York, New York:. What are the technologies altering humanity in art as we know it? Is art the last frontier for tech? If so, what new doors are opened up at this intersection of art, technology, and humanity? Credo When we are not surrounded by nature, we are surrounded by a chain of implemented ideas: Every object started initially from a concept. Money were a concept too, at first. And so was, capitalism. So are nuclear wars. And the consequences of all these lead to affecting our own inhabited planet.
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The Web is increasingly becoming a social space whose inhabitants share a certain number of rules, and a common culture and language with its own conventions and syntax: These, for example, are the tags of vvebcam: The Infinite Sculpture Garden 3, Courtesy the artist and Gloria Maria Gallery, Milan. Lo si vede, in particolare, nei suoi video: La maggior parte di questi video segue uno schema ricorrente che vede l'artista stessa esibirsi in performance del tutto ordinarie arricchite con effetti dozzinali.
Ecco, ad esempio, quelle di vvebcam: The images and videos were not selected at random, but based on key words in the screenplay. This meant that the artist was able to reconstruct the story with materials that, while foreign to the film, are pertinent according to the cold, impersonal logic of the database. The choice of title also reflects this. In psychoanalysis this term describes the inability to derive pleasure from situations would normally generate it.
This apathy also applies to the nature of the new visual wallpaper, further strengthened by the omnipresence of the watermarks, pointing up the inhuman nature of the corporate identity. This is what happens in her most recent works, the video-essay Turbo Sculpure and the project The video adopts a slideshow modus operandi, overlaying the images found, indifferent to the fact that the new images completely hide the previous ones or not.
The results of this search have been documented, compiled into an archive and made available to various DJs to be remixed. Immagini e video non sono scelti a caso, ma sulla base delle parole chiave contenute nella sceneggiatura. Anche la scelta del titolo va in questa direzione. Anhedonia era il primo titolo, poi bocciato per ragioni di marketing, del film di Allen.
I risultati di questa ricerca sono stati documentati, compilati in un archivio e messi a disposizione di diversi deejay per essere remixati. Over the years Harm van den Dorpel has developed a modus operandi that, while not strictly collage, metaphorically references it. The type of collage in question, it should be underlined, is mobile and 3D, not because it features objects rather than images , but because it is based on a three-dimensional network of connections and relations between the various elements, in a mutable scheme of overlays and transparencies.
Van den Dorpel applies this method to everything he produces, from individual works to the construction of his image as an artist. For years his website has changed almost daily, sometimes looking like a complete portfolio, sometimes offering a selection of works, and sometimes burying them behind an impenetrable interface or removing them from the net altogether.
He has now achieved an illusion of stability thanks to an associative browser of his own design: A quote from the classic A Study on Thinking, emerges here and there to explain this behaviour: In the same way, motifs and images flow from one work to another: They exist and manifest in fluid forms through different media.
This explains the freedom with which he moves from one language to another, which is first and foremost indifference to the material nature of the individual languages: Van den Dorpel applica questo metodo a tutto quello che produce, dal singolo lavoro alla costruzione della propria immagine come artista. Allo stesso modo, motivi e immagini fluiscono da un lavoro all'altro: Esistono e si manifestano in forme fluide attraverso diversi media. Any object can be given a conceptual or aesthetic value depending on how it is presented: Modifying everyday objects — openly or covertly - is a technique much deployed by artists over the last century, and this tradition is the context of some of the works by Constant Dullaart, a Dutch artist who focuses his attention on what he comes across every day surfing on the web.
One significant series of works is that regarding Google: Small changes that hint at how the representation of data we are used to is only one of the many possible. Dullaart also applies this method to some offline works. In Poser, exploiting the Chroma key technique, the artist puts himself into group photos found on the net. Everything seems perfectly realistic until the photo behind the artist changes, and he moves to position himself better with the new group.
No Sunshine is a series of images of sunset found on Flickr with the sun taken out; the landscapes continue to be realistic but have lost their central element, their most romantic component. These modifications are not evident at first glance, but create a very unsettling effect that makes them extremely intriguing. Piccole modifiche che suggeriscono come la rappresentazione dei dati alla quale siamo abituati sia solo una delle tante possibili. Dullaart applica questo metodo anche a alcune opere offline.
Modifiche non percepibili al primo sguardo, ma che generano un forte senso di straniamento, rendendo le immagini irrimediabilmente affascinanti. Seeing that collection of photographs, set out on a grid at a fair, more or less consciously raised a series of questions: What have interface designers learnt from the exhibition tactics that conceptual art experimented with in the s?
Can we trace a connection between the image aggregators of the past and the present? The site gathers and offers, for a fee videos of people men and women, young and old, sometimes couples but more often individuals who have filmed themselves while masturbating. The unique thing about this site is that no nudity is shown: Beautiful Agony quickly became an internet phenomenon due to how its chaste sexuality raises a number of crucial questions already present in other, more neutral social platforms like YouTube: How has our relationship with sexuality evolved in the 21st century?
Screenshots and videos, freed from the protection of the fee-paying site, quickly spread around the web. But the interesting thing about this work is not just the nature of their source material. It is interesting that the artist of the wunderkammer, antique shops and flea markets, turned to the net to look for material.
It is interesting that he has ended up operating like the other artists in this exhibition who owe everything to his art, his childlike curiosity, his ability to forge syntactic links between apparently distant images, his conception of intellectual property, and the visual solutions he has developed to present his works.
Courtesy Galleria Massimo Minini. Now anyone can take centre stage, and take on an audience of global dimensions. Indeed the development of this kind of service is inextricably linked to the direct participation of the users, who, sharing their contributions with the entire community, play a fundamental role in the growth of the platforms.
At the heart of this phenomenon lie above all the so-called digital natives, the generations born in the s and s, who have grown up with the digital sphere dominating a wide range of aspects of daily life: And it is this generation that supplies the greatest number of users to the social networks, and is most influenced by them, feeling a pressing need to connect with and actively participate in the phenomenon of communication. These digital natives also feel the burden of the duties that come with participation, like the need to have something to say in order to exert a presence. A weighty burden, especially when you have little to say.
The request is simple and direct: To do this they are ready to tackle anything: Un compito oneroso, soprattutto quando si ha ben poco da dire. Per questo sono pronti ad affrontare qualsiasi argomento: The ballad of social dependency, Multimedia installation with digital slides, courtesy the artist. Since then, Hallenbeck has played this gratifying and eloquent role to the best of his ability. Less inclined than some of his peers to create exhibitable objects, and therefore less known in the art world, he nonetheless has an excellent reputation on the scene.
Twitter Faves , a collections of tweets written by different users; Tinypic Video Thumbnails , a collection of previews of videos from the video hosting service Tinypic; and Flickr Favs Each page of the book features a grid of 6 x 6 thumbnails. The reader is however free to decide on his or her own route through this vast, yet miniscule sample of the internet. Da allora, Hallembeck non ha mai smesso di interpretare al meglio questa generosa e icastica definizione. It must have been this very prefix that attracted the attention of Jodi Joan Heemskerk and Dirk Paesmans , when they registered folksomy.
The deliberate misspelling of the name is typical of Jodi, which has been systematically tampering with language for years, sabotaging its role as a reliable but limited communications tool. This also emerges frequently in the tags used to archive the immense mass of material gathered over time. Some of them make sense, while more frequently they are simple assemblages of phonetic symbols.
Overall then, Folksomy is an asystematic analysis of the ongoing adaptation of two bodies, two worlds alien to each other man and machine , and the dysfunctions that this tricky coexistence occasionally throws up. This is no longer the horizon of the postmodern citation, but that of customised gadgets, pirated films, photoshopped images, musical mash-ups, viral memes, celebrity fakes.
This is, in other words, the horizon of Versions — ongoing. Versions is a work in progress that has existed in various forms since it began: From another perspective, Versions is the version of the history of art that could belong to someone growing up in the age of copy and paste, in the participatory culture of the web, on a horizon in which the mediated experience of things often replaces direct experience, to the point that we no longer perceive the difference between one and the other.
Versions is also the acknowledgement of a paradox: As Oliver Laric says in Versions , if five people describe an accident they will all give different versions, because what they are actually doing is recounting themselves. This, it goes without saying, is my version of Versions. Founded in July , the free web hosting service Geocities ceased to exist in October In the early years of the web Geocities was what enabled hundreds of thousands of amateur users to set up their own homepages.
These artefacts, replaced in the new millennium by the conventional design of blogs and social networks, have now become part of the archaeology of the internet, but back then, in the space of a few years, they generated a massive heritage of backgrounds, animated gifs, buttons, midi sounds and experiments in html.
When a group of hackers uploaded an archive containing a terabyte of Geocities pages to The Pirate Bay, it was too tempting an opportunity for the duo to pass up on. Lialina and Espenshied set about downloading it, and at the same time they launched a blog where they post and comment on their discoveries. One Terabyte of Kilobyte Age — ongoing is an engaging research blog which enables its authors to rediscover lost treasures and reconstruct stories which had been left as loose ends and fragments.
Like that of the Dancing Girl, one of the most famous gifs in history, of which they located the creator a retired American aviator, now deceased and the origin an old programme for Mac called Videoworks , explaining the reason for that rebel pixel that none of the numerous users of that animation had the courage to delete. Style , are works of art, and their works of art are archives and studies in image form.
This is also the case with Frozen Niki , the personal blog of Nikolaj Osinin, placed in a cryogenic capsule and sent into space. In reality, delicate bitmap graphics overlap against a starry background, giving rise to an appealing celestial architecture populated here and there with pop icons like Fritz the Cat and the Dancing Girl, while the text tags construct a micro-narration. Frozen Niki Fragments, Digital video and set of 9 prints, dimensions variable. Nei primi anni del web ha fornito una casa a centinaia di migliaia di utenti dilettanti che si creavano le proprie homepage.
Lialina e Espenshied hanno avviato il download, lanciando nel contempo un blog su cui postano e commentano le loro scoperte. The members of these collaborative platforms are mainly artists working on the net who share the need to sort through, catalogue and organise the massive amount of material they visualise on their computer screens daily. In his works Lonergan makes considerable use of accumulation — following the logic behind the creation of databases — and creating playlists: One example is the video Babies First Steps , a collection of excerpts of amateur films showing exactly that.
Internet Group Shot , meanwhile, is a collection of group photos whose subjects have been cut out and used to compose a giant collage that points up the formal conventions and compositional features that characterise this kind of portrait. Myspace Intro Playlist is a collection of videos in which individual users of the famous social network introduce themselves and their pages to possible visitors who might end up there.
The video Artist Looking At Camera explores the conventional representation of the figure of the artist, using short clips found in an online archive that offers a library of films and images for commercial use. Searching by key word, Lonergan came across a series of videos showing artists and craftspeople happily intent on their work.
He extrapolated the clips from their original setting and assembled them into a single video, and what emerges is a conception of the artist as craftsman, ironically poles apart from the practices deployed by the members of Surfing Clubs. Nei suoi lavori Lonergan fa ampio ricorso all'accumulazione — secondo la logica di creazione dei database — e alla realizzazione di playlist: Al risale invece Internet Group Shot, una raccolta di fotografie di gruppo i cui soggetti sono stati ritagliati dall'immagine originale e utilizzati per comporre un gigantesco collage che evidenzia le convenzioni formali e compositive che caratterizzano questo tipo di ritratti.
Il video Artist Looking At Camera indaga infine la rappresentazione convenzionale della figura dell'artista, utilizzando brevi clip trovati in un archivio online che offre immagini e filmati di repertorio per uso commerciale. Attraverso una ricerca per parole chiave, Lonergan approda a una serie di video che ritraggono artisti e artigiani felicemente intenti nella produzione de loro manufatti.
Le clip vengono estrapolate dal contesto originario e assemblate in unico video: Artist Looking at Camera, Collection of stock footage found by searching the GettyImages database for "artist looking at camera", stills. The concept of property has always been a troublesome one for Eva and Franco Mattes. Often dubbed provocateurs and falsifiers, they are also and above all thieves. Their very first work, initiated when they were not yet twenty, and disclosed only fifteen years later, was a collection of fragments of 20th century artworks stolen during visits to museums and exhibitions.
Stolen Pieces — not only examines the sacrality of art how much aura remains in a fragment? The first works they publicly claimed responsibility for, Darko Maver and Vaticano. The former were used to create the legend of an artist, while the latter was played out for a year, using a clever collage of appropriate texts and stylistic registers. The same tactic was deployed a few years later - , on another scale, when the duo borrowed the identity of the Nike Corporation. This kleptomania, publicly confessed and translated into an aesthetic, is the outcome of a very unambiguous take on the concept of originality in art: And this stance is matched by a rigorous ethic of exchange and sharing.
It is no coincidence that their biggest theft, in terms of quantity, was conceived during the performance Life Sharing , in which their entire digital identity the contents of their computer was shared on the net through peer-to-peer protocols for three years. It was then that the Mattes realised that many users were actually unwittingly doing the same.
They began to go through their computers, constructing a collection of thousands of private images, which was made public ten years, later entitled The Others My Generation , on the other hand, came about as a mash-up of amateur videos taken from YouTube, showing game players venting game-related frustration on their computers.
Spesso definiti provocatori e falsificatori, sono, anche e soprattutto, dei ladri. Quanta se ne porta via asportandolo? I loro primi lavori pubblicamente rivendicati, Darko Maver e Vaticano. Le prime vennero usate per creare, dal nulla, la leggenda di un artista; la seconda venne interpretata per un anno, servendosi di un sapiente collage di testi e registri stilistici appropriati.
E ha come corollario una rigorosa etica dello scambio e della condivisione. Fu allora che i Mattes si accorsero che molti utenti stavano facendo, inconsapevolmente, la stessa cosa. Cominciarono a frugare nei loro computer, costruendo una collezione di migliaia di immagini private, resa pubblica dieci anni dopo con il titolo The Others My Generation nasce invece come un mash-up di video amatoriali, raccolti su YouTube e raffiguranti dei giocatori che riversano le frustrazioni prodotte dal gioco sul loro computer.
Which, incidentally, is called distributedhistory. Like many of his other works, including the video Redistribution — ongoing , the project is still in progress, not because each of its incarnations is not finite and complete, but because the artist reserves the right to rework it continuously. Dispersion opens with a quote from Marcel Broodthaers: All of his work arises from the awareness that what he is doing first and foremost is introducing content into a given distribution circuit, and his art explores the consequences of that act.
His belief that creating is about putting appropriated, digested materials back into circulation, is what sparks his interest in redistribution, which involves a much wider selection of materials, techniques and cultural forms: The sense of unease and dissociation generated by this, that Price compares to that connected with the excessive realism of simulations, has led the artist to rework the material, introducing diversions, enigmatic images and gaps between the verbal flow and the visual flow. Redistribution, - ongoing. High definition video projection, duration: Con queste parole si conclude Dispersion, un saggio scritto da Seth Price nel e reso pubblico, negli anni successivi, in forme diverse: Che, per inciso, si chiama distributedhistory.
Dispersion si apre con una citazione di Marcel Broodthaers: Tutto il suo lavoro nasce dalla consapevolezza di costituire, prima di tutto, un atto di immissione di un contenuto in un determinato circuito distributivo, e indaga gli effetti di questo atto. Dalla convinzione, invece, che creare significhi rimettere in circolazione contenuti appropriati e digeriti, nasce il suo interesse per la redistribuzione, che coinvolge una scelta molto ampia di materiali, tecniche e forme culturali: Il senso di disagio e dissociazione da essa prodotto, che Price paragona a quello connesso con l'eccessivo realismo delle simulazioni, ha spinto l'artista a rimaneggiarla, introducendo diversivi, immagini enigmatiche, scollamenti tra il flusso verbale e il flusso visivo.
A moose running along a tarmac road going down to a lake, youngsters with obscured faces flipping a finger to the camera, three men being searched and arrested by the police, a naked figure poised to dive into the sea, a baby crawling along a road by itself, the immediate aftermath of a car accident, black smoke rising from the roof of a house: Rafman is an untiring traveller who moves rapidly from one side of the world to the other to explore what he has not yet managed to visit in person, or revisit spots encountered during past travels.
The artist is in search of places that fire up his imagination, just like the character in his video You, the World and I , a modern-day Orpheus who travels the globe, returning to the locations he visited with his lover in the hope of finding images of her randomly captured on Google Street View.
Like a curious drifter, Rafman wanders the digital streets of the world, ready to devote his attention to anything that arouses his curiosity: The journey undertaken by the artist takes place entirely on a map, in a world that is the outcome of a dual process of recording and simulation: In this place, so real yet so completely immaterial, Rafman roams, investigating and examining every nook and cranny, in search of unique scenes to select and capture, appropriating them, and acknowledging in them the unique nature of his own personal vision of the world. So what scope remains today for those who wish to manifest their vision of the world?
Claudia Rossini seems to have found the answer in archives. For her, collecting, selecting and organising represents an effective alternative or a constructive prelude to taking up her camera. An effective alternative because her gaze, no longer conveyed through an image, can emerge in the interstices of the gazes of others. Cruise in Venice is an installation that gathers photographs downloaded from the internet, taken by tourists from the bridge of cruise ships moored in Venice. A constructive prelude, because at times the interstices of what has already been photographed reveal openings onto what still can and should be photographed.
Ambiguous Hour is an installation that documents that hour when the clocks change, based on shots taken by twenty four webcams, one for each time zone. In Venice Atlas , fifty locations around Venice are photographed from above, from four different points. Another opening can come from intentionally embracing repetition, the conventional gaze: Venice is captured as everyone has already seen it.
It is difficult to say what avenues n-tuple — ongoing will open up. For the time being this project is an archive in the making, a blog of visual notes where Rossini gathers images and videos she finds on the net, predominantly to do with what the prevailing norm views as the extremes of sexuality: The title comes from computing, meaning a ordered list of elements.
Che spazio resta, oggi, a chi voglia rendere visibile il proprio sguardo sul mondo? In the internet era, collecting is no longer something we do by choice: In that moment, the programme automatically memorises a number of elements it deems relatively stable, to avoid having to retrieve them from the server at our next visit. And apart from the browser, the computer itself stores a record of every single operation we perform on it. These archives are not based on a conscious act of selection, and while on the one hand they yield an effective, telling portrait of our daily use of the net and computer, on the other they also keep track of marginal, unintentional material which might even have escaped our notice whilst browsing: The material gathered is presented in its entirety, in a non-hierarchical and paratactic structure that does not tell a story, but many possible stories: This is what informs the effort to grant permanence to something so ephemeral and transient, destined as it is to disappear, or be preserved only randomly and unwittingly.
M Cache Rules Everything Around Me, , a mash-up that draws on his collection of animated gifs, to Banners and Skycrapers , a website that animates a collection of adverts, to the ambitious Graffiti Research Lab, a project based on open source software that analyses, documents and classifies urban graffiti. Browser a parte, anche il computer tiene memoria di ogni singola operazione da noi compiuta su di esso. Questa febbre archivistica ritorna in molti altri lavori di Roth: Personal Internet Cache Archive May 6, C-Print, x cm Courtesy the artist.
See a Problem?
Travess Smalley is an artist of vision who has succeeded in integrating hardware and software in his kaleidoscopic toolbox. His work could be described as a continuous, ongoing process of formal research that leaves traces and fragments along the way. These traces might be drawings, sculptures, videos or static and animated images, but such distinctions do not do justice to the continuity, which is also physical, between these artefacts. Yet Smalley challenges viewers to trace his production process, or even attempt to do so.
This is the location in our perception for manmade simulations that fall into the category of near-perfect. While imperfect simulations elicit empathy, those that are faultless tend to generate revulsion, as they make it impossible for us to distinguish between human and artificial, and generate a sensation of threatening uncertainty. All of this also applies to his early collages, colourful, maximalist works. These are based on the results of image searches for place names from sci fi novels, that he collects and then blends digitally, enhancing their effect of unreality.
Il suo lavoro potrebbe essere descritto come una continua ricerca formale che procede senza scatti e interruzioni, e che lascia tracce e frammenti lungo la strada. Nel linguaggio della robotica e del design 3D, esiste un concetto che si presta bene a descrivere il lavoro di Smalley: Molten Mountain Collage, Courtesy Gloria Maria Gallery, Milan.
If this was not evident enough in his long, intricate, over the top, noisy, disorienting videos, the portfolio of four portraits that he created for W Magazine shows it with the punch that only a static image can pack. Each image is the result of months of research work, and post-production leaves no details of the original photo intact. These are post-human, post-technological beings, mutable when it comes to physical form, sexual identity, and their relationship with the world of products and information.
This is followed by a period in which Trecartin, as he has stated, writes, films and edits all at once. Each of these levels is characterised by accumulation and excess: History Enhancement and Temp Stop: C-prints, 36 x 24 inches Quindi segue un momento in cui il lavoro procede su vari livelli, e in cui Trecartin, come ha dichiarato, sta scrivendo, girando, editando nello stesso momento. Accumulazione ed eccesso ricorrono a ciascuno di questi livelli: History Enhancement e Temp Stop: Josephine Bosma is a writer and critic. She made documentaries and interviews about new media culture for radio from , but moved to writing in Bosma has published interviews, reviews and texts about art and new media in various catalogues, books and magazines, both on and offline.
Collect the WWWorld. The Artist as Archivist in the Internet Age by Link Editions - Issuu
Her work mostly focusses on net art, sound art and net culture. She lives and works in Amsterdam. Gene McHugh is an art writer and curator based in Brooklyn. Joanne McNeil is senior editor of Rhizome, an organization dedicated to the creation, presentation, preservation, and critique of emerging artistic practices that engage technology. She is founding editor of The Tomorrow Museum, a collection of essays on technology, identity, and culture.
Domenico Quaranta is an art critic and curator. His previous publications include Gamescenes. He curated various shows, including Holy Fire. Playing Games, Music, Art — Dal , ha realizzato per la radio documentari e interviste sulla cultura digitale, e nel ha iniziato a scrivere. Vive e lavora ad Amsterdam. Suoi testi sono stati pubblicati su Artforum e Rhizome. Le sue pubblicazioni includono Gamescenes. Ha curato diverse mostre, tra cui Holy Fire.
The last decade has seen an incredible growth in the production and distribution of images and other cultural artefacts. The internet is the The Artist as Archivist in the Internet Age 7 glance — which often never even materialized, by the way — was in fact a conscious decision in itself. The Artist as Archivist in the Internet Age cache era, accumulating data is like breathing: