“We’re an information economy. They teach you that in school. What they don’t tell you is that it’s impossible to move, to live, to operate at any level without leaving traces, bits, seemingly meaningless fragments of personal information. Fragments that can be retrieved, amplified…”
– William Gibson
→ information society/culture
appropriation is a fact of a data-driven, content-saturated world
an act of exchange? of discourse and dialogue
We are on a planet (in a time) where there is more and more information and less and less meaning …
It is the simultaneity of the two that is impressive and noteworthy
One of The polar ice caps is fiction and the other is reality, because of irreversible climate change they are melting and their substances combining
Sea-levels are rising approaching us to a critical proximity, threatening our way of life
Utopian situation = you talk to me in shadowing
= fluid complexities
Images to construct a personal universe
Something that came to be without having been possible
An event is happening, is going to happen, is about to happen,
Occurs when …
Events are historical or information
This mirrored hall is really a gallery, with no exit nor entrance visible , fluctuating with each blink
Composed carefully in a line within the void
Jubilation, complex and contradictory, energizing the imagination
Processes of parallel emergence
Continually shifting (in emotional respect and compassion) with changes to the ways many other aspects of the world work.
Information is always already there, destroying the event from the beginning
= non-existent definitions
Perhaps there is basically nothing to say about something that is unfolding
A spell about her
We must hence find some method of predicting the future state-of-the-art
= now pause, for the guitar solo …
[Fade to black]
[Fatale. From comics
Milan from comics
Datamosh effects applied to video of Jenni speaking
Original script through text-to-speech,
+ a lip-reading software
Grabbing images from personal collection based on tags
Stage framing mouth
Clones with technopathy]
What story does the artifact tell?
What does it tell us about the culture?
From the period of change from an industrial period to a quickly accelerating digital epoch. The use of many materials and technologies were quickly falling out of favor as the technology available rapidly developed, making previous technologies obsolete.
We can see evidence of uncertainty, fear, but also great ambition.
The artworks show a fascination with the invisible, artificial intelligence,
cloning is a very novel technology, it appears the artist was able to create a small group of clones before harsh punishments and legislation were enacted for unlawful corporeal duplication.
there is evidence that some of these artworks got “out-of-control” facilitated by their highly experimental nature.
Much of the artwork from this exhibition was digital in nature.
The artifact is a digital record, greatly deteriorated and degraded in quality.
We have more physical evidence of other artworks of the period whichmade use of a maximal amount of material, as seen in the work of Richard Serra, Damien Hirst, and …
There is very little record of the digital artworks from this period.
We can still feel the influence of Noah Travis Phillips’ art in …
inscribing myself in the things that are important/meaningful to me, making them part of my world, trespassing into their world, merging with them,
Becoming my own topic of investigation, turning an external perspective on my self, influences that affect
Opening to include wider (technological and cultural) conditions
Things I am curious about, that turn me on, that energize me,
transformative potential, things that act on me, into active agents in my reality
“the image is an act of thought”
the picture is very powerful for me,
and putting two or more things together, next to each other,
is very powerful for me; suddenly there is a network of associations,
I like to have a lot of pictures of things…and I like to find them, I like to look for them,
I don’t like to own or have a lot of things…as few as possible, actually.
This has, maybe, to do with the space of the screen, and the space beyond the screen.
One of the most formative periods in my life was approximately 13 to 18. I met the internet at 13. I say met because it was like a friend, it was a friend, an immediate companion. We could hang out. It had it’s own ideas about things…it seemed. I could ask it about something, anything, and it would tell me something about it. I could also feed it things about myself. I could draw pictures, perpetuate images…
& that’s what I would do. Back then, back when things needed time to load, I would draw while waiting. So I was thinking…about my own inquiry, about the internet’s response, I was thinking about it and I was thinking visually. The time it took to load was like a good friend taking time to consider what they were going to say before speaking.
Feeling (Emotion) is intricate,
even the sounds of a word can change/determine a feeling
Video attempts to enter a flow or an emotion of feeling.
This sense of things moving like a river…they keep moving, flowing, says something about how I relate to imagery and art.
I don’t really relate that much to cinematic framing and composition.
I like illusion…it doesn’t even have to be that convincing. In fact, I like to know an illusion is being created, that an illusion was developed. Just put the thing together symbolically, something provisional (ad hoc). I guess this is like the flow, the flowing, the thing will keep going. Maybe eventually you (I) make something that is really permanent, really important, needs the cinematic and epic shot, needs the materiality, I don’t know.
I think of myself as being part of a continuum …
I have never had any social status…so that’s not really my concern, the artifice is interesting though, the artifice might be all a poor boy has.
& things that are “over-intellectualized” are interesting to me, when you really thought about something, and then you thought about it more, and you loaded everything you could with significance, you put as much symbolism in there as possible, soak the whole thing in meaning…Composing that way from the beginning, or realizing later that there was some meaning in there that you didn’t notice at first both of those approaches are important to me.
inauthenticity, copies, avatars, the fungible, simulacra, counterfeits,
fiction, “the truth or a good story”,
“irreverent questions about what aura, authenticity, and authorship could mean in our 21st century, Internet-driven, post-digital age.”
material of identity, memory, desire,
organizing one’s universe,
Where is the real located for Noah Travis Phillips?
“the real” isn’t always the most convincing or communicative
the real is located as much in the physical nature of objects as in what we project onto them—the fantasies we associate with them
in this intense, information-gathering environment and needed to find an outlet for its excesses and peripheries/marginalia
gathering information into a kind of visual essay
“We touch things in order to know them, to see them properly. Like when we say: ‘can I look at that?’ but actually we mean: can I hold it, can I manipulate it. And I make pictures or images of things in the same way, so that I can know them better, grasp them, fully apprehend them, ‘grok’ them. Grok is a good word – it was coined by a science fiction writer, and it means to understand profoundly through intuition or empathy. So it’s all about grokking; trying to know something intimately.” – Mark Leckey