quarta-feira, julho 29, 2015

precursor of The Big Kiss

precursor of The Big Kiss
from Tumblr http://ift.tt/1U71Dag

segunda-feira, julho 13, 2015

Culture isn't free by Edward Picot

What has happened is that the Web, which initially seemed to offer small producers a level playing field with the big ones, has been carved up by the new digital mega-corporations: Amazon, Google/YouTube, Facebook, Apple, Twitter. All of these are content-hosts: they make their money by offering a hosting framework within which people or businesses can place their content or products. Apple and Amazon make profits by actually selling product, whereas Google/YouTube, Facebook and Twitter milk their audiences via advertising, but all of them are trading on the fact that they pull in so many viewers/consumers every day. On the Web, money follows attention, and if you can set up a site or a service which pulls in millions of visits per day, you’ll be in a position to make a fortune. The people who use the host services - who place their videos on YouTube, who put their self-published books on Amazon, or who release their musical offerings on iTunes - may or may not be able to build themselves a sizeable online audience for their work: the vast majority of us won’t: but essentially, whether we make any money or not, we’re just acting as cannon-fodder for the big corporations.

So, as artists we’re caught in the middle of a double-whammy. Grants, funding, commissions, higher education placements and so forth - top-down funding - are drying up because of the economic crisis. But bottom-up funding - the possibility of being able to make yourself some money by selling your work directly to the public - a field in which the Web initially seemed to offer such enormous promise - is drying up too because of the restructuring of the marketplace.

from Tumblr http://ift.tt/1Ty0mZA

quarta-feira, abril 01, 2015

queer languages and models of communication - eflux

Much like the several spatiotemporal paradoxes that surround the closet, the languages that could be its product seem to predate it in certain cases. Furthermore, who speaks or spoke these languages long before the emergence of any contemporary understanding of homosexuality, the homosexual, and notions such as trans* or queer becomes an even more sensitive topic in light of queer modes of communication.

sexta-feira, março 27, 2015

WALK+TALK: Oral scores

walk+talk is an imperative to find not just visibility yet to become audible. The place of declaration is the public stage, not the dance studio, the rehearsal process or the lecture room. walk+talk is the performance of a singular author where the audience witnesses the attempts to speak about and on individual understandings of movement, to maybe even let them become a manifesto.
Project / ORAL SITE

segunda-feira, janeiro 19, 2015

infinite parts

Stiff. Hard. Cold
The face closed by the mouth
so it doesn't open
Stumble down. In pieces.

Flashes of memory,
Moving photographs,
of her eyes lingering accross the table,
the laughs,
the patience,
the hands, already cold by then,
would put effort on cherishing my hands.

Looking for salvation in every touch
and ease my own pain in her silent dispair
of love and loving her loved ones.

That's what she waited for
has long as she could.

I face it closed and hard
Do Not Touch / should have a sign written somewhere...
(it is ultimately a piece of art in itself;
every body is, in its last state, a piece of art of lasting...)
I face it, hold on to my father, kiss my aunt,
think about my brother
cry over my mother
convulsion, fear and no thoughts - all in one.

I do not know what it is
I do not want to know what it is
I don't...

go back.
my body is a battle field.

If we represent something
then we represent our own failure,
Our own failure of trying to live.

Let there be robots with no feelings,
Let there be no feelings inside biology,
Let there be no hope inside the human machine,

Let thoughts and avidity disappear.

If we represent something
then we represent our own failure,
our task is incomplete...

Loading. Charging. Waiting,
she kept on waiting. Longing. Caring.

If we represent something
then we represent our own impossibility
of existing.

By representing it
it is needed to overcome it while
trying to achieve it,
completing it,
fulfilling it,
for the eyes will flood for different reasons.

I will miss every moment i forgot to know better,
feel better,
slow better,
look in the eyes of another soul
that is a mirror of my own and that turned black...

for I can no longer see an infinite part of me.

Let us connect and dig tunnels of hopeful sensorial matter
link all the mirrors on earth and beyond,
we are all part of one larger being,
that will also fail while multiplying into
partitions of a wholeness until it stops,
and all matter will, inevitably,
degrade into proof of the impossibility of infinity.

segunda-feira, janeiro 05, 2015

"the human factor research"

Excerpts from 
by Chus Martínez (MOUSSE Magazine / Archive / Issue #45 / TALKING ABOUT)

“So, if Europe collapses under Ebola, Russia implodes in a second revolution, and the Middle East’s problems radicalize, the States seems like a good place to be...?” “Yes,” he says without conviction. “Now that oil is not a problem, they will, of course, initiate a process of isolation, closing the cycle that was opened during World War II. One must admit that they are free from all the nationalist problems affecting other nations, so they are stronger in that sense.” At that point, my eyes look at him begging for some sort of narrative mercy. “But what about their problems with race?” He looks away for a second and then back at me. “Indeed. The African American community got poorer during the last decade. Their health conditions are endangering a large segment of the population. They suffer from illnesses such as asthma, diabetes, sarcoidosis, and obesity such that their life expectancy and quality of life are seriously affected. Also, almost 40 percent of the incarcerated males in the U.S are African Americans. And now think about Rand Paul, about all these libertarians and their ideas of economy, race, or community.”



...Libertarianism is an interesting example of artistic misinterpretation. Alisa Zinov’yevna Rosenbaum was born in 1905, the year of the Russian Revolution. She moved to the United States in 1926 and published under the name of Ayn Rand. Her unique way of writing about the individual, seeking happiness, and ways of legitimizing one’s values produced an ideological reception—a movement, even—outside the field of cognitive literature that she was ostensibly discovering or exploring. Moving away from reductionist views of human behavior such those represented by B. F. Skinner, Rand was interested in the new developments that occurred during the 1960s and 1970s in information theory, psychology, computer science, and the “human factor research” (how humans interact with complex machinery). All of this opened up for her a new cognitive turn in the study of human consciousness.

Read the whole article (here)

sexta-feira, dezembro 19, 2014


In the late 20th century, the formative issues in digital media art were about connectivity and interaction. In this century, our post-digital objectives will increasingly be technoetic and syncretic. Formerly, there was much ado about e pluribus unum (out of many, one) - a unified culture, unified self, unified mind, unity of time and space. 
Now the reverse applies: ex uno plures (out of one, many) - many selves, many presences, many locations, many levels of consciousness. The many realities we inhabit—material, virtual, and spiritual, for example—are accompanied by our sense of being present simultaneously in many worlds: physical presence in ecospace, apparitional presence in spiritual space, telepresence in cyberspace, and vibrational presence in nanospace. Second Life is the rehearsal room for future scenarios in which we will endlessly re-invent our many selves. 
As artists, we deal with the complexities of media that are at once immaterial and moist, numinous and grounded; and the complexity of the technoetic mind that both inhabits the body and is distributed across time and space. Where all these differences could be at odds with each other, we are in fact developing a capacity, to syncretise: to analogise and reconcile contradictions, while melding differences, such that art and reality are becoming syncretic. What today we build in the immateriality of cyberspace will tomorrow be realised concretely with nano technology. 
Our syncretic reality will emerge partly through the cultural coherence that intensive interconnectivity elicits, partly through the nano and quantum coherence at the base of our world-building, and partly through the spiritual coherence that informs the field of our multi-layered consciousness. 
As a society, as much as we exercise our everyday awareness, we fear consciousness; we avoid exploring it, we deny its deepest dimensions, and we refute its universal connectivity and collectivity. We know nothing of where it is located, how it arises, of what it is constituted. There is a sense amongst some scientists that they dare not challenge the folk theory of mind as an epiphenomenon of the brain. Too much would be at stake if the Newtonian applecart were to be overturned. Think of the denial amongst physicists of the metaphysical implications of quantum mechanics. Think of the doctrinaire rigidity of those whose fundamentalist materialism credits the brain with the creation of consciousness, rather than investigating the brain as an organ of access to fields of consciousness. Think also of those innumerable first person reports in all cultures at all times of psychic perception in all its forms, that have been routinely rejected out of hand by mainstream science. However, it is an astrophysicist, Attila Grandpierre , who most usefully provides a description of consciousness with the application of field theory, arguing that “the organisation of an organism involves fields, which are the only means to make a simultaneous tuning of the different subsystems of the organism-as-a-whole. Fields with their ability to comprehend the whole organism are the natural basis of a global interaction between organisms and of collective consciousness . . . ”. He offers a quantum-physical model of a multi-layered consciousness, Direct, immediate action at a distance actually exists in the electromagnetic field, which is the coupling, mediator field between waves and particles. The environmental, natural and cosmic fields are determinative sources of our consciousness. “The collective field of consciousness is a significant physical factor of the biosphere”. However, in many cases, field theories are pushed to the margins of scientific respectability. The new organicism of May Wan Ho, the biophotonic research of Fritz-Albert Popp, the holonomic brain theory of Karl Pribram, the implicate order of David Bohm, are distanced by the scientific establishment. And Donna Haraway, even amongst the cognoscenti of media art, is recognized more for her Cyborg Manifesto than for her much earlier Crystals, Fabrics, and Fields: Metaphors of Organicism in Twentieth-Century Developmental Biology . Of considerable significance to the evolving ontology of new media art is the major shift in research focus of Tom Ray that moves from Artificial Life to mind science. It is a research that plays a radical part in the emergence of moistmedia - the convergence of dry computational technologies and wet biological systems, since its concern is with the re-evaluation of psychedelics, and by extension, the pharmacology of plants, in the understanding of mind states, and of consciousness at large. 
Ray, initially famous amongst new media artists and computer scientists for the creation of Tierra (1991) is now engaged in providing the first comprehensive view of how pharmacological compounds interact with the human receptome. [He wants] “to get to know the pharmacology of the attractors . . . .to begin to map the chemical organization of the human mind”. 
The digital moment in art has passed, it has been absorbed into practice, and assimilated by theory, A pharmacological moment is upon us, within cognitive science and beyond its orthodox borders. In the evolving technoetic culture, living in altered states of consciousness will become more frequently the norm, just as living in multiple states of body informs our living today – both in Second life scenarios and the syncretic reality of contemporary being. In our the syncretic, moistmedia, telematic culture, we are engaged in re-inventing ourselves, creating new social networks, new orders of time and space. Technoetics leads to serial selves, serial relationships, serial self-invention. Human nature, unconstrained, is essentially syncretic. Just as cybernetics analogises differences between systems, so syncretism finds likeness between unlike things. If cybernetics underlies the technology of new media art, syncretism informs the psyche. Syncretic thinking breaches boundaries and subvert protocols. Hypermedia is its telematic correlate. 
In religious or spiritual contexts, syncretism can mean combining from diverse sources epistemologies, rituals, psychic instruments, psychotropic plants and herbs, into new forms of sacred communion. In contemporary society, syncretism may involve combining technologies that are interactive and digital, reactive and mechanical, psychoactive and chemical, and new rituals of contemporary social networks that are mobile, locative, and online, together with a creative sensibility towards the practices of older cultures that have habitually been seen as alien, exotic and in many cases proscribed. Digital art is dangerously approaching the status of orthodoxy; the period of extreme speculation, invention and untrammelled creativity is in danger of giving way to academicism and commercialisation, The real revolution in the new digital technology (which will be even more radical with the evolving nanotechnology) lies not so much that of global connectivity – person to person, mind to mind – that releases us from the constraints of time and place (great as that is), but its power to provide for the release of the self, release from the self, the fictive “unified self” that psycho-analysts and therapists relentlessly promote. No! We are multiple, made up of many selves, with access to many layers of consciousness. Rather than needing to go deep into ones self, we need to reach out to the many selves that our innate creativity craves. The revolution in consciousness lies in our ability to be many selves, to be telematically in many places at the same time, our digital and post-biological self-creation leading to many personas, many aspects of what we each can be. In short, the 21st century self is generative. This is of course the appeal of Second Life, as it is to the many narratives and games of generative identity, shape-shifting, an transformative personality that new media art has created. 
We find the earliest and most prescient exemplars of the multiple self in the heteronyms of Fernando Pessoa, each with his own individual history, appearance, emotional register, philosophy, and style of writing. Were Pessoa to be active today, they would probably be Second Life personae. As John Gray has pointed out, “Fernando Pessoa invented at least 72 fictive identities. These jostling aliases express his belief that the individual subject -- the core of European thought -- is an illusion". Therein lies Pessoa’s significance today. He well understood the notion of the distributed self, that we are each many selves. Pessoa left a trunk containing over 25,000 items: poems, letters, journals – writings on philosophy, sociology, history, literary criticism, plays, treatises on astrology, observations on the occult, esoterica of many kinds – written by dozens of heteronyms. Pessoa’s psychological and literary prescience, and the breadth and complexity of his interests, anticipated life in our hypertextual world of the Web, where the fluidity of associative links and genres, and the instability, variability and transformation of identities and personas is one of its greatest appeals and challenges. We can only imagine what his (dis)embodied syncretism might have brought to the telematic embrace. Through his exploration of consciousness, he developed occult skills and paranormal powers, including spiritualist mediumship, telepathy, and especially his development of 'etheric vision. The challenge to our syncretic model of thought and action in the context of creativity is to untie the Newtonian knot that binds our perception, and seek always to put subject before object, process before system, behaviour before form, intuition before reason, mind before matter... 
A truly technoetic and syncretic art will embrace concepts of biophysics: coherence, macroscopic quantum states, long-range interactions, non-linearity, self-organization and self-regulation, communication networks, field models, interconnectedness, non-locality, and the inclusion of consciousness. 

Roy Ascott.2014