Do something boring

Photo

Sun, 22 Nov 2009 15:25:05 -0800

≈TEEN SEX MAGAZINE≈ (via Â»otto o’brien)

Sun, 22 Nov 2009 13:40:21 -0800

≈TEEN SEX MAGAZINE≈ (via Â»otto o’brien)

art-it: toxicjohnny: Slow-motion shadow in color (2009) by...

Sun, 22 Nov 2009 12:51:21 -0800

toxicjohnny:

Slow-motion shadow in color (2009) by Olafur Eliasson, via Kanazwa Museum

Now on view at the 21st Century Museum of Contemporary Art in Kanazawa, Japan is “Your Chance Encounter” featuring new works by the Danish/ Icelandic artistOlafur Eliasson. Often employing the use of light, wind, waves, and other elements from nature as material in order to explore the workings of human perception, in these new works the artist once again investigates the nature of human perception by creating works which make use of the design of the 21st Century Museum of Contemporary Art.

bijinoise on Vimeo (via Vimeo)

Sun, 22 Nov 2009 12:48:16 -0800

bijinoise on Vimeo (via Vimeo)

standardgrey: Christopher Olson & Jeff Otto O’Brien e-mail...

Thu, 19 Nov 2009 18:22:41 -0800

standardgrey:

Christopher Olson & Jeff Otto O’Brien e-mail collabo

.rtf -> .raw -> .aiff -> .mp3 ->.psd -> .jpg

pootee: (via kristopher keith helton)

Wed, 18 Nov 2009 22:57:37 -0800

pootee:

(via kristopher keith helton)

lesramsay: Road On The Again at the The Fifty Fifty Gallery,...

Wed, 18 Nov 2009 22:09:50 -0800

lesramsay:

Road On The Again at the The Fifty Fifty Gallery, Victoria, 2009

Solo show.

urmean2computer: (via kwassakwassa)

Wed, 18 Nov 2009 21:19:08 -0800

urmean2computer:

(via kwassakwassa)

adamadam: brandi strickland.

Wed, 18 Nov 2009 21:17:54 -0800

adamadam:

brandi strickland.

(via adamadam)

Tue, 17 Nov 2009 19:36:25 -0800

(via adamadam)

"In a world where the 2 billionth photograph has been uploaded to Flickr, which looks like an..."

Tue, 17 Nov 2009 19:35:56 -0800

“In a world where the 2 billionth photograph has been uploaded to Flickr, which looks like an Eggleston picture! How do you deal with making photographs with the tens of thousands of photographs being uploaded to Facebook every second, how do you manage that? How do you contribute to that? What’s the point? It’s a real struggle.”

- BIG RED & SHINY: DOG DAYS BOGOTA: A CONVERSATION WITH ALEC SOTH (via lapuravidagallery)

The Dead ClassTadeuz Kantor (via click opera - Warszawa,...

Tue, 17 Nov 2009 17:26:54 -0800

The Dead Class
Tadeuz Kantor

(via click opera - Warszawa, Berlin)

(via uuiuu)

Tue, 17 Nov 2009 17:19:41 -0800

(via uuiuu)

Tue, 17 Nov 2009 17:19:09 -0800

(via uuiuu)

lapuravidagallery: (via boxofcobras)

Tue, 17 Nov 2009 17:18:10 -0800

lapuravidagallery:

(via boxofcobras)

Virtual data isn’t subject to decay like traditional...

Mon, 16 Nov 2009 18:09:08 -0800

Virtual data isn’t subject to decay like traditional media. Despite this, we can still lose personal data to disk failure, viruses, or accidental deletion. Unlike personal data however, data on the internet has a seemingly infinite shelf-life. Between search-engine caching, cloud-hosting, re-blogging, plagiarizing, and the way-back machine, the net collects and eternally stores vast amounts of information.

Temporary.cc eschews this paradigm. For each unique visitor it receives, Temporary.cc deletes part of itself. These deletions change the way browsers understand the website’s code and create a unique (de)generative piece after each new user. Because each unique visit produces a new composition through self-destruction, Temporary.cc can never be truly indexed, as any subsequent act of viewing could irreparably modifiy it.

Eventually, like tangible media, Temporary.cc will fall apart entirely, becoming a blank white website. Its existence will be remembered only by those who saw or heard about it.

Click here to view Temporary.cc

(via Temporary.cc)

Google Street View Glitch

Mon, 16 Nov 2009 18:00:31 -0800

Google Street View Glitch

This flattening-out of visual content—the concept-in-becoming of...

Tue, 10 Nov 2009 17:30:12 -0800

This flattening-out of visual content—the concept-in-becoming of the images—positions them within a general informational turn, within economies of knowledge that tear images and their captions out of context into the swirl of permanent capitalist deterritorialization.¹³ The history of conceptual art describes this dematerialization of the art object first as a resistant move against the fetish value of visibility. Then, however, the dematerialized art object turns out to be perfectly adapted to the semioticization of capital, and thus to the conceptual turn of capitalism.¹⁴ In a way, the poor image is subject to a similar tension. On the one hand, it operates against the fetish value of high resolution. On the other hand, this is precisely why it also ends up being perfectly integrated into an information capitalism thriving on compressed attention spans, on impression rather than immersion, on intensity rather than contemplation, on previews rather than screenings. (via Hito Steyerl, In Defense of the Poor Image / Journal / e-flux )

"The networks in which poor images circulate thus constitute both a platform for a fragile new common..."

Tue, 10 Nov 2009 17:27:24 -0800

“

The networks in which poor images circulate thus constitute both a platform for a fragile new common interest and a battleground for commercial and national agendas. They contain experimental and artistic material, but also incredible amounts of porn and paranoia. While the territory of poor images allows access to excluded imagery, it is also permeated by the most advanced commodification techniques. While it enables the users’ active participation in the creation and distribution of content, it also drafts them into production. Users become the editors, critics, translators, and (co-)authors of poor images.

Poor images are thus popular images—images that can be made and seen by the many. They express all the contradictions of the contemporary crowd: its opportunism, narcissism, desire for autonomy and creation, its inability to focus or make up its mind, its constant readiness for transgression and simultaneous submission.9 Altogether, poor images present a snapshot of the affective condition of the crowd, its neurosis, paranoia, and fear, as well as its craving for intensity, fun, and distraction. The condition of the images speaks not only of countless transfers and reformattings, but also of the countless people who cared enough about them to convert them over and over again, to add subtitles, reedit, or upload them.

In this light, perhaps one has to redefine the value of the image, or, more precisely, to create a new perspective for it. Apart from resolution and exchange value, one might imagine another form of value defined by velocity, intensity, and spread. Poor images are poor because they are heavily compressed and travel quickly. They lose matter and gain speed. But they also express a condition of dematerialization, shared not only with the legacy of conceptual art but above all with contemporary modes of semiotic production.10 Capital’s semiotic turn, as described by Felix Guattari,11 plays in favor of the creation and dissemination of compressed and flexible data packages that can be integrated into ever-newer combinations and sequences.12

”

- Hito Steyerl, In Defense of the Poor Image / Journal / e-flux

▴ Chris Marker’s virtual home on Second Life, May 29, 2009. (via...

Tue, 10 Nov 2009 17:26:09 -0800

▴ Chris Marker’s virtual home on Second Life, May 29, 2009. (via Hito Steyerl, In Defense of the Poor Image / Journal / e-flux )

Do something boring

Photo

≈TEEN SEX MAGAZINE≈ (via Â»otto o’brien)

art-it: toxicjohnny: Slow-motion shadow in color (2009) by...

bijinoise on Vimeo (via Vimeo)

standardgrey: Christopher Olson & Jeff Otto O’Brien e-mail...

pootee: (via kristopher keith helton)

lesramsay: Road On The Again at the The Fifty Fifty Gallery,...

urmean2computer: (via kwassakwassa)

adamadam: brandi strickland.

(via adamadam)

"In a world where the 2 billionth photograph has been uploaded to Flickr, which looks like an..."

The Dead ClassTadeuz Kantor (via click opera - Warszawa,...

(via uuiuu)

(via uuiuu)

lapuravidagallery: (via boxofcobras)

Virtual data isn’t subject to decay like traditional...

Google Street View Glitch

This flattening-out of visual content—the concept-in-becoming of...

"The networks in which poor images circulate thus constitute both a platform for a fragile new common..."

▴ Chris Marker’s virtual home on Second Life, May 29, 2009. (via...

≈TEEN SEX MAGAZINE≈ (via Â»otto o’brien)