IAE has a distinctive lexicon: aporia, radically, space, proposition, biopolitical, tension, transversal, autonomy. An artist’s work inevitably interrogates, questions, encodes, transforms, subverts, imbricates, displaces—though often it doesn’t do these things so much as it serves to, functions to, or seems to (or might seem to) do these things. IAE rebukes English for its lack of nouns: Visual becomes visuality, global becomes globality, potential becomes potentiality, experience becomes … experiencability.
I am truly sick of reading or watching stuff made by wannabe sophisticates acting as if they invented the wheel, when in fact are just repackaging and reframing stuff made not much long ago by a not-dissimilar sort of people. The materialization of abstract concepts is to be expected then, as plagiarized works are to be seen as new by the inclusion of these invisible new raw materials. In this context, Art English is just a tiresome, predictable symptom of the fact that
art the ‘creative industries’ are all just about posing an attitude and about packaging irrelevancies in a way that conveys a feeling of being a (take your pick:) sophisticated / interesting / mysterious / fabulous person, and not about making art at all, not about communication at all, not about sharing and empathizing with other humans at all.
Not even about just showing something cool.
I feel more and more that, in the same way as all professional sports tend to become like Wrestling, so does Contemporary Art constantly tends to become Advertising (of itself and of the artist) and a sad affirmation of exclusivity. Not that this is, mind you, a new critique, people have been making the same sort of point since before Pop Art opened the floodgates of artistic capitalism. And therein, perhaps, lies the root problem. Just say no!
10 PRINT CHR$(205.5 RND(1)); : GOTO 10, an awesome downloadable book elaborating about the title’s Commodore 64 one-liner (which produces something like in the above image).
Besides being an interesting photography project, I find this really useful. One of the perils of color correction work is that after a while one starts to question how certain colors (for instance: skin) are supposed to look like. Not only your sight adapts to certain hues (blue-ish, orange-ish, etc.) until they seem neutral, but after a while you find yourself in a position similar to someone who repeats the same familiar word out loud until it seems strange and meaningless. So, no matter how good and calibrated your monitor is, objective electronic assistance is very much needed (if available, the vectorscope function is your best friend), and having a list of skin tones at hand can help — not forgetting one should always ask “what color is this skin under this light?”, a question that some decline to answer… Designboom
Bruce Sterling’s essay on the New Aesthetic. This is an interesting read, even if it did nothing to counter my ambivalent feelings towards the New Aesthetic. On one hand, I like it, the idea. Even if the ‘official’ blog — which I follow — feels a lot more random than a ‘movement’ should (but perhaps I’m mistaken in expecting something like a ‘movement’). I like to think that at last we figured out an aesthetic for the early twenty-first century, that it is our generation’s Futurism, this time centered in CCTV-obsessed Britain rather than in automobile-obsessed Italy. On the other hand though, I may also believe the New Aesthetic is just a bandwagon, a neatly packaged brand for journalists and lazy curators and critics. Consider John Whitney. BEFLIX. The demoscene. The comparatively long history of Glitch art. Software art. Consider Thomas Ruff’s eroded JPEGs touring the world’s art museums (museums!). Cory Archangel’s tweets about 1990s ‘New Aesthetics’. From this perspective, the New Aesthetic seems like a brand invented by the same kind of savvy people who came up with concepts such as ‘creative industries’ and made a killing living off artists and craftspersons. But then again, most art ‘movements’ didn’t ever exist as such. ···
Journalist Alexis Madrigal calls for a post-Facebook future (mind you, what the article is really about is the increasingly diminished returns of social and mobile software). I’m all for new things, but the current situation was expected after the initial push to develop applications that leverage ubiquous broadband internet and mobile hardware with built-in sensors (mainly camera and location/GPS) pretty much consolidated. I think that now is time to take a deep breath and start figuring out what happened, what worked and why, and what it means. Bring in the academics. ···
One Terabyte of Kilobyte Age. The authors, Olia and Dagan, blog interesting stuff found in the Geocities torrent rescued by Archive Team. Funny I can’t even remember what was my old Geocities address. ···
PHP: a fractal of bad design is a very thorough critique of everything that is wrong with the programming language. However, I don’t believe it is constructive to attack PHP developers (such as your truly) as an horde of illiterate, masochistic fools that refuse to use proper tools. Such attacks grossly underestimate the pull of PHP’s being a good enough language for web development — incredibly easy (eg. XAMPP) to get into, well documented, and widely supported by cheap web hosting providers. It’s flawed (eg. I must reemphasize the ‘well documented’ aspect of PHP’s success, given how unintuitive its function names are sometimes) but allows me to do a quick ‘sketch’ of a webpage, hit ‘refresh’ and (often enough) voilá!, it works. And it is this ‘sketching’ (a word I’m borrowing from Processing) aspect that I find vital. To go with the author’s carpenting analogies, most people are building small houses — maybe a shed, maybe a greenhouse to keep the flowers. They don’t need complicated ‘scaffolding’ like in Ruby or Python frameworks. They just need to be able to sketch. ···
Wired’s piece on deciphering Stuxnet, a real-life spy technothriller. ···
The Blackmagic Cinema Camera. That Canon 5D Mark III is so last year. ···
An economist’s Six Rules for Dining Out. Some of his tips seem pretty universal: seemingly strange dishes at fancy restaurants must exist for a reason and are probably quite good; listening to lots of conversation means people are waiting a lot more than eating (so loud restaurants should be skipped); and dining establishments in very good locations (eg. with lots of tourists) afford to be bad and expensive, and should often be avoided. ···
The Brain on Love: what happens. ···
Procrastiworking: is what I do. As for the “creative success” part, the jury’s still out. ···
The World’s Longest Invoice. I’d have a couple of submissions for the Portuguese version. Just saying. ···