fabric | rblg

By fabric | ch

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As we continue to lack a decent search engine on this blog and as we don't use a "tag cloud" ... This post could help navigate through the updated content on | rblg (as of 08.2021), via all its tags!

HERE ARE ALL THE TAGS TO NAVIGATE THE CONTENT ON | RBLG BLOG:

(to be seen just below if you're navigating on the blog's html pages or here for rss readers)

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Note that we had to hit the "pause" button on our reblogging activities a while ago (mainly because we ran out of time, but also because we received complaints from a major image stock company about some images that were displayed on | rblg, an activity that we felt was still "fair use" - we never made any money or advertise on this site).

Nevertheless, we continue to publish from time to time information on the activities of fabric | ch, or content directly related to its work (documentation).

Note: open since last September and seen here and there, this exhibition at the Withney about the uses of rules and code in art. It follows a similar exhibition - and historical as well - this year at the MOMA, Thinking Machines. This certainly demonstrates an increasing desire and interest in the historization of six decades - five in the context of this show - of "art & technologies" (not yet "design & technologies", while "architecture and digital" was done at the CCA).

Those six decades remained almost under the radar for long and there will be obviously a lot of work to do to write this epic!

Interesting in the context of the Whitney exhibition are the many sub-topics developed: 

- Rule, Instruction, Algorithm: Ideas as Form / 

- Rule, Instruction, Algorithm: Generative Measures / 

- Rule, Instruction, Algorithm: Collapsing Instruction and Form /

- Signal, Sequence, Resolution: Image Resequenced / 

- Signal, Sequence, Resolution: Liberating the Signal /

- Signal, Sequence, Resolution: Realities Encoded /

- Augmented Reality: Tamiko Thiel

Via Whitney Museum of American Art

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Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 establishes connections between works of art based on instructions, spanning over fifty years of conceptual, video, and computational art. The pieces in the exhibition are all “programmed” using instructions, sets of rules, and code, but they also address the use of programming in their creation. The exhibition links two strands of artistic exploration: the first examines the program as instructions, rules, and algorithms with a focus on conceptual art practices and their emphasis on ideas as the driving force behind the art; the second strand engages with the use of instructions and algorithms to manipulate the TV program, its apparatus, and signals or image sequences. Featuring works drawn from the Whitney’s collection, Programmed looks back at predecessors of computational art and shows how the ideas addressed in those earlier works have evolved in contemporary artistic practices. At a time when our world is increasingly driven by automated systems, Programmed traces how rules and instructions in art have both responded to and been shaped by technologies, resulting in profound changes to our image culture.

The exhibition is organized by Christiane Paul, Adjunct Curator of Digital Art, and Carol Mancusi-Ungaro, Melva Bucksbaum Associate Director for Conservation and Research, with Clémence White, curatorial assistant.

Note: following the exhibition Thinking Machines: Art and Design in the Computer Age, 1959–1989 until last April at MOMA, images of the show appeared on the museum's website, with many references to projects. After Archeology of the Digital at CCA in Montreal between 2013-17, this is another good contribution to the history of the field and to the intricate relations between art, design, architecture and computing.

How cultural fields contributed to the shaping of this "mass stacked media" that is now built upon the combinations of computing machines, networks, interfaces, services, data, data centers, people, crowds, etc. is certainly largely underestimated.

Literature start to emerge, but it will take time to uncover what remained "out of the radars" for a very long period. They acted in fact as some sort of "avant-garde", not well estimated or identified enough, even by specialized institutions and at a time when the name "avant-garde" almost became a "s-word"... or was considered "dead".

Unfortunately, no publication seems to have been published in relation to the exhibition, on the contrary to the one at CCA, which is accompanied by two well documented books.

Via MOMA

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Thinking Machines: Art and Design in the Computer Age, 1959–1989

November 13, 2017–April 8, 2018 | The Museum of Modern Art 

Note: j'aurai le plaisir d'être en entretien --en français-- ce vendredi 26.02 à 20h avec le journaliste Frédéric Pfyffer, de la Radio Télévision Suisse Romande, dans le cadre du programme Histoire Vivante qui traite cette semaine du sujet des "Big Data".

Cet entretien, qui a été enregistré en fin de semaine passée, nous verra évoquer la façon dont les artistes ou designers abordent aujourd'hui --mais aussi un peu hier-- cette question des données. En contrepoint ou complément peut-être des approches scientifiques. Pour ma part, aussi bien dans le contexte de ma pratique indépendante (fabric | ch où de nombreux projets réalisés ou en développement s'appuient sur des données) qu'académique (projet de recherche interdisciplinaire en cours autour des "nuages"... entre autres).

À noter encore qu'au terme de la semaine d'émissions thématiques sera diffusé sur la TSR (dimanche 28.02) le documentaire Citizenfour, qui relate toute l'aventure d'Edward Snowden et du journaliste Glenn Greenwald.

Ces cinq émissions seront également disponibles en mode podcast à la même adresse, suite à la diffusion de cette semaine.

Via RTS

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Une semaine d’Histoire Vivante consacrée à l’histoire de la recherche scientifique à la lumière de l’émergence de l’internet et des big data.

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Dimanche 28 février 2016, vous pouvez découvrir sur RTS Deux: CitizenFour, un documentaire de Laura Poitras (Allemagne-USA/2014):

"Citizenfour est le pseudonyme utilisé par Edward Snowden pour contacter la réalisatrice de ce documentaire lorsqu'il décide de révéler les méthodes de surveillance de la NSA. Accompagnée d'un journaliste d'investigation, elle le rejoint dans une chambre d'hôtel à Hong Kong. La suite est un huis-clos digne des meilleurs thrillers."

Note: after the recent post about E.A.T. and while we are into history, here is also an intersting article by Phyllis (Gershuny) Segura, one of the founders of the 1970's journal Radical Software, where she explains the birth and motivatiosn behind the magazine. It was a journal about the then very young video art, but exceeded this thematic by far, including avant-garde thematics such as cybernetic, information theory or networks.

Via Rhizome

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Creating Radical Software: A Personal Account

By Phyllis (Gershuny) Segura

What can be analyzed in my work, or criticized, are the questions that I ask…my composition arises out of asking questions.

— John Cage

Radical Software Volume I, Number 1: the Alternate Television Movement (Spring 1970)

Radical Software Volume I, Number 2: the Electromagnetic Spectrum (Autumn 1970).

As rare as it is for something to be an instant success, this is what happened with Radical Software, a journal started in 1970 to bring a fresh direction to communication via personal and portable video equipment and other cybernetic explorations. Its intention was to foster an alternative to broadcast media and lessen the impact of its control. I was the co-founder.

When I began conceiving of the journal, no one really knew precisely what I was getting at because my ideas about it were at an inchoate stage of development, making for loose coherency. The idea was for individuals to be able to communicate interactively without the filters of broadcast media. Even at a more formalized stage the process superseded any formulaic views. Perhaps asking non-hierarchical questions could materialize the structures leading to a two-way network for communicative exchange. Our choices were no longer determined by traditions and customs.

I don't often look, but when I do, I notice so much misinformation, both printed and online, about the origins of Radical Software. I‘d like to clarify what my role was then and what my inspiration was in conceiving of it. It is important to set the background and tone of events. In order to accurately tell the tale I will weave in some personal life anecdotes from the time. It's all one story to me, as the vicissitudes of life often direct our fates.

“Those were the underlying circumstances that led to Radical Software: curiosity and confinement.”

(...)

Read more about it HERE.

Related Links:

Via iiclouds.org (Nicolas Nova)

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“World Brain” by Stéphane Degoutin and Gwenola Wagon (2015):

World Brain proposes a stroll through motley folkloric tales : data centers, animal magnetism, the Internet as a myth, the inner lives of rats, how to gather a network of researchers in the forest, how to survive in the wild using Wikipedia, how to connect cats and stones…
The world we live in often resembles a Borgesian story. Indeed, if one wanted to write a sequel to Borges’ Fictions, he could do it simply by putting together press articles.
The World Brain is made out mostly of found materials : videos downloaded on Youtube, images, scientific or pseudo scientific reports, news feeds… [...] World Brain takes the viewer through a journey inside the physical places by which the Internet transits: submarine cables, data centers, satellites. The film adopts the point of view of the data. The audience view the world as if they were information, crossing the planet in an instant, copied in an infinite number of instances or, at the contrary, stored in secret places.

By fabric | ch

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I'm very happy to write that after several months of preparation, I'm leading a new design-research (that follows Variable Environment, dating back from 2007!) for the University of Art & design, Lausanne (ECAL), in partnership with Nicolas Nova (HEAD). The project will see the transversal collaboration of architects, interaction designers, ethnographers and scientists with the aim of re-investigating "cloud computing" and its infrastructures from a different point of view. The name of the project: Inhabiting and Interfacing the Cloud(s), which is now online under the form of a blog that will document our progresses. The project should last until 2016.

The main research team is composed of:

Patrick Keller, co-head (Prof. ECAL M&ID, fabric | ch) / Nicolas Nova, co-head (Prof. HEAD MD, Near Future Laboratory) / Christophe Guignard (Prof. ECAL M&ID, fabric | ch) / Lucien Langton (assistant ECAL M&ID) / Charles Chalas (assistant HEAD MD) / Dieter Dietz (Prof. EPFL - Alice) & Caroline Dionne (Post-doc EPFL - Alice) / Dr. Christian Babski (fabric | ch).

I&IC Workshops with students from the HEAD, ECAL (interaction design) and EPFL (architecture) will be conducted by:

James Auger (Prof. RCA, Auger - Loizeau) / Matthew Plummer-Fernandez (Visiting Tutor Goldsmiths College, Algopop) / Thomas Favre - Bulle (Lecturer EPFL).

Finally, a group of "advisors" will keep an eye on us and the research artifacts we may produce:

Babak Falsafi (Prof. EPFL - Ecocloud) / Prof. Zhang Ga (TASML, Tsinghua University) / Dan Hill (City of Sound, Future Cities Catapult) / Ludger Hovestadt (Prof. ETHZ - CAAD) / Geoff Manaugh (BLDGBLOG, Gizmodo).

Andrea Branzi, 1969, Research for "No-Stop City".

Google data center in Lenoir, North Carolina (USA), 2013.

As stated on the I&IC webiste:

The design research I&IC (Inhabiting and Interfacing the Clouds), explores the creation of counter-proposals to the current expression of “Cloud Computing”, particularly in its forms intended for private individuals and end users (“Personal Cloud”). It is led by Profs. Patrick Keller (ECAL) and Nicolas Nova (HEAD) and is documented online as a work in progress, 2014-2017.

I&IC is to offer an alternative point of view, a critical appraisal as well as to provide an “access to tools” about this iconic infrastructure of our modernity and its user interfaces, because to date their implementation has followed a logic chiefly of technical development, mainly governed by corporate interests, and continues therefore to be paradoxically envisioned as a purely functional, centralized setup.

However, the Personal Cloud holds a potential that is largely untapped in terms of design, novel uses and territorial strategies. Through its cross-disciplinary approach that links interaction design, the architectural and territorial dimensions as well as ethnographic studies, our project aims at producing alternative models resulting from a more contemporary approach, notably factoring in the idea of creolization (theorized by E. Glissant).

Related Links:

Via algopop

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More about Snowden's new mobility (mediated by Google) HERE.

Three years ago we published a post by Nicolas Nova about Salvator Allende's project Cybersyn. A trial to build a cybernetic society (including feedbacks from the chilean population) back in the early 70ies.

Here is another article and picture piece about this amazing projetc on Frieze. You'll need to buy the magazione to see the pictures, though!

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Via Frieze

Phograph of Cybersyn, Salvador Allende's attempt to create a 'socialist internet, decades ahead of its time'

This is a tantalizing glimpse of a world that could have been our world. What we are looking at is the heart of the Cybersyn system, created for Salvador Allende’s socialist Chilean government by the British cybernetician Stafford Beer. Beer’s ambition was to ‘implant an electronic nervous system’ into Chile. With its network of telex machines and other communication devices, Cybersyn was to be – in the words of Andy Beckett, author of Pinochet in Piccadilly (2003) – a ‘socialist internet, decades ahead of its time’.

Capitalist propagandists claimed that this was a Big Brother-style surveillance system, but the aim was exactly the opposite: Beer and Allende wanted a network that would allow workers unprecedented levels of control over their own lives. Instead of commanding from on high, the government would be able to respond to up-to-the-minute information coming from factories. Yet Cybersyn was envisaged as much more than a system for relaying economic data: it was also hoped that it would eventually allow the pop­u­la­tion to instantaneously communicate its feelings about decisions the government had taken.

In 1973, General Pinochet’s cia-backed military coup brutally overthrew Allende’s government. The stakes couldn’t have been higher. It wasn’t only that a new model of socialism was defeated in Chile; the defeat immediately cleared the ground for Chile to become the testing-ground for the neoliberal version of capitalism. The military takeover was swiftly followed by the widespread torture and terrorization of Allende’s supporters, alongside a massive programme of privatization and de-regulation. One world was destroyed before it could really be born; another world – the world in which there is no alternative to capitalism, our world, the world of capitalist realism – started to emerge.

There’s an aching poignancy in this image of Cybersyn now, when the pathological effects of communicative capitalism’s always-on cyberblitz are becoming increasingly apparent. Cloaked in a rhetoric of inclusion and participation, semio-capitalism keeps us in a state of permanent anxiety. But Cybersyn reminds us that this is not an inherent feature of communications technology. A whole other use of cybernetic sytems is possible. Perhaps, rather than being some fragment of a lost world, Cybersyn is a glimpse of a future that can still happen.

Via Frieze

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Fourteen30 Contemporary, Portland

In his video California Bloodlines (GPS Dozen) (all works 2013), California artist Jesse Sugarmann drives through a bright desert expanse in search of somewhere elusive. The camera is trained on the car’s dashboard and windshield, which are festooned with 12 GPS devices that relegate the dramatic landscape of sand and scrub, distant mountains and azure sky to a removed presence. As he drives, a chorus of robotic voices talk over one another, blurting out contradictory directions (‘Turn left!’, ‘Turn right!’, ‘Re-calculating!’). Sugarmann’s intended destination is California City, from which the artist’s exhibition at Fourteen30 Contemporary took its name: a place real enough to have assigned geo-positioning coordinates, yet not real enough for the dozen devices to reach consensus.

Geographically, California City is the third-largest city in the Golden State. Its 40- square-mile grid in the Mojave Desert was developed in the 1960s in tandem with the California Aqueduct, which would transform the arid terrain into a lush, cosmopolitan oasis, a two-hour drive north of Los Angeles. But when the aqueduct was rerouted to the west, development was abandoned. In the ensuing half-century, a population of 15,000 made California City home, leaving the unfinished infrastructure of sidewalks and roads to be slowly reclaimed by the desert. Today, the outskirts of this unrealized city play host to Air Force weapons testing and off-road motor sports.

Symbolically, the site evidences a kind of regional amnesia, in which the glitz and glamour of Southern California’s main cultural centre allows this also-ran destination to fade from collective memory. But Sugarmann leverages its metaphoric impact for more personal ends, using California City as a stage to contemplate his mother’s worsening Alzheimer’s. This place, which bears the fundamental shape of a city but conspicuously lacks the city itself, becomes an analogue for his mother’s frustrated attempts to recall and organize a past she knows exists, but can’t seem to access.

In a second video, California Bloodlines (Parts 1 and 2), the artist has arrived in California City, or at least one of its desolate cul-de-sacs. Joined by an assistant, Sugarmann performs a series of actions addressing the site’s past, present and the irreconcilable divide between them. Initially, they appear as stewards, attempting to restore the road to working condition. They patch a makeshift bonfire pit left by an off-road after-party, sweep sand off the weather-beaten pavement (as desert winds violently undo their efforts), and spread a new layer of asphalt. But with the appearance of a sand dragster, a vehicle equally at home on sand or tarmac, the site’s present-day activities creep in, creating a confused connection to its past: the duo spreads asphalt on the exterior of the dragster and sets it ablaze.

In California Bloodlines (Parts 1 and 2), Sugarmann interpolates scenes of his own ‘weapons testing’ in California City, drawing square-mile development tracts onto Perspex in liquid napalm and burning them into the surface. These works were displayed in the gallery like production stills or outtakes from the film, each image executed in thick black burn marks and feathery yellow flickers. It’s not hard to connect the geometric patterns of the tract with the mapping of the human brain in neuro-imaging techniques.

Sugarmann’s previous body of work focused almost exclusively on cars – as figurative bodies, ‘vehicles’ for projecting human desire and as ubiquitous monuments to the fact of obsolescence and mortality. With the California City videos, this connection between subjects and their automotive stand-ins is made more powerful by the artist’s equation of the landscape with memory. Here, the internal stage of mental function – or in the case of his mother, dysfunction – is depicted in physical, spatial terms. And, tragically, in the enacted folly of restoring unused roads, he illustrates how that which is forgotten can never be recovered.

John Motley 

Related Links: