image by Oblinof Kohara
“Any sufficiently advanced technology is indistinguishable from magic.”
–Arthur C. Clarke, in the essay “Hazards of Prophecy: The Failure of Imagination”, in Profiles of the Future (1962).
Clarke’s Three Laws are three”laws” of prediction formulated by the British science fiction author. Clarke’s Third Law has been interpreted in several ways:
-reversed for fictional universes involving magic: “Any sufficiently analyzed magic is indistinguishable from science!”
-expanded for fictional universes focusing on science fiction: “Any technology, no matter how primitive, is magic to those who don’t understand it.”
-used to refer to unexplained archaeological finds and reconstructions of folk mysticism: “Any sufficiently ancient recovered wisdom or artifact is also indistinguishable from magic.”
I, for one, have always felt a spiritual connection through internet connection. WiFi Witchcraft & Wizardry is a [super]natural evolution of humanity’s innate desire to connect with Higher Powers. We now have the power influence our earth experience using New Media as the new medium. Google God.
still from Kate Durbin’s Hello Selfie! being performed at The Rema Hort Mann Foundation / image by jessie askinazi
+Kate Durbin performs Hello Selfie! at this year’s PULSE Miami Beach Contemporary Art Fair as a TRANSFER gallery exhibitor
PULSE Miami Beach//Indian Beach Park, 4601 Collins Avenue, FL
Tuesday, December 1
3:30 – 4:30 pm
Kate Durbin will perform the fourth iteration of her ongoing performance work, Hello Selfie!’ at PULSE Miami Beach 2015. In ‘Hello Selfie!’ Durbin presents a new form of passive aggressive performance art, with female performers taking selfies in a public space for an hour straight, uploading them to the Facebook event wall in real time. A playful exploration of selfie culture and an intervention into the space of the art fair, where women have traditionally been muses for male artists, ‘Hello Selfie Miami’ invites viewers to consider their roles as spectators and as fair goers. Video pieces produced from documentation footage of the first three ‘Hello! Selfie’ performances—in Los Angeles, New York City, and Brisbane, Australia (with men)—will be exhibited at PULSE in the TRANSFER booth
+Also at PULSE Miami Beach Contemporary Art Fair 2015:::
The Cloud, 2013
Hypoallergenic polyester fiber, speakers, microprocessors, LED lights
24 x 14 x 13 inches (dimensions variable)
Courtesy the designer and the SVA Galleries Booth C15
Developed while he was a student in MFA Products of Design at the School of Visual Arts (SVA), Richard Clarkson’s The Cloud is an interactive lamp that challenges conventional notions of what a lighting fixture can be. Using motion detectors and color-changing lights, the Cloud detects a user’s presence to mimic a thundercloud in both appearance and behavior. The Cloud also features a powerful speaker system from which the user can stream music via any Bluetooth compatible device.
Advances in physical computing and interaction design hardware over recent years have given rise to a new breed of smart objects. The Arduino prototyping platform has enabled designers to go inside the ‘black box’ of electronic devices. Meanwhile, inexpensive and easy-to-program microprocessors allow designers to better understand the nature of electronics, and thus aid in the creation of new and meaningful interactions.
The Cloud partakes in new kind of design, sometimes described as maker culture, whereby ideas and process are shared for others to use and expand upon. The Cloud’s code is available to the public to use and improve at no cost, helping to provide the blueprints for the next generation of smart objects.
+Also at PULSE Miami Beach Contemporary Art Fair 2015:::
Glass, corian, LEDs, electronics, software
39.4 x 39.4 x 3.1 inches
Courtesy of the artist and TRANSFER, Brooklyn, NY
Pixel is an interactive light installation activated by human touch. Everywhere, pixels radiate from behind glass—they are tiny, formless objects existing at a remove from our bodies; just beyond our grasp. Pixels are the ambassadors to the digital world, representing all that we have wrought there through carefully choreographed fluctuations: pulses of current that result in changes of color which in aggregate form graphics and with time produce the illusion of motion. Ubiquitous and invisible, pixels show us everything.
+Oxford Dictionary has announced 2015’s Word of the Year. It is an emoji.
That’s right – for the first time ever, the Oxford Dictionaries Word of the Year is a pictograph, officially called the ‘Face with Tears of Joy’ emoji, though you may know it by other names. There were other strong contenders from a range of fields, outlined below, but the emoji was chosen as the ‘word’ that best reflected the ethos, mood, and preoccupations of 2015.
+JENNIFER IN PARADISE (2013-ongoing)
Jennifer in Paradise, considered the world’s first digitally manipulated image, is an ongoing project engaged with the virtual archaeological history of a file from 1988.
With his project ‘Jennifer in Paradise Series’ (2013-present) Constant Dullaart has created one of the most important pieces of virtual archeology as of yet (an area of study that will surely gain popularity in the next couple of years). Here, he redistributes and mediates a stock-like image of a topless woman reclining on a beach in Bora Bora, an image so recognizable and ingrained in our collective virtual memory that it is impossible to signify. The image was originally taken in 1988 by John Knoll, one of the original creators of Photoshop, and it was subsequently used as an example of the first digitally manipulated photograph ever. However, high-resolution versions of the image were never officially distributed, and despite the wide circulation and appropriation of the image, it is now practically impossible to find online. Meditating on this ‘extinction’, Dullaart acts as an archivist and tries to restore the image while processing it through current Photoshop filters – he even reached out to Jennifer in a public letter published on Rhizome, in an attempt to assert the need for such digitally-mediated histories to be discovered and discussed.
+Rhizome and Shanghai-based Chronus Art Center and Beijing-based Tsinghua University Art and Science Media Lab (TASML) have announced that Dutch artist Constant Dullaart has been awarded the second annual $10,000 Prix Net Art, an international prize for internet art. Additionally, a $5,000 Award of Distinction was granted to the Berlin-based collective Weise7.
*Dullaart will discuss the future of net art during a new art and technology conference presented by Rhizome and the New Museum in January 2016*