tag:blogger.com,1999:blog-90657786081613545052024-02-02T12:12:06.984-08:00GOTTLIEB'S NEW MEDIA 연구소Theory and practice of New Media, particularly enquiry in to the 'creative'/'expressive' implementations in public space online and offlineBhttp://www.blogger.com/profile/08074299629184871552noreply@blogger.comBlogger13125tag:blogger.com,1999:blog-9065778608161354505.post-4258830060391213942009-08-04T04:27:00.000-07:002009-08-04T04:30:43.850-07:00partial migrationHi folks!<br />Since I am trying to consolidate many of my disparate activities around the distribution of <a href="http://www.upcdatabase.com/bookland.asp?upc=9780981997278">my new book</a>, I started a new blog <a href="http://gratfortech.blogspot.com/">here:<br />http://gratfortech.blogspot.com/</a><br />where I will be spending most of my blogging hours until further notice!<br />see you there!Bhttp://www.blogger.com/profile/08074299629184871552noreply@blogger.com0tag:blogger.com,1999:blog-9065778608161354505.post-73701924353975287952008-12-03T11:11:00.001-08:002008-12-03T11:15:50.662-08:00LHC : Large Hungron Combinder<a href="http://www.vociferous.org">ever wondered where pizza came from?</a><br><br><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuTHCL8Bsl4xf8u095iynzOMJKyKv8OONIlYekZUKoM9zsddpbageO8zo_99fp9LkSFoMXm9c-MTieed3sOUcGUDRNb0iLvcPyUQpwADRA6oYmFbUEJwlHUmAyKEoUh7JCG-pdibYwNV_A/s1600-h/LHC.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuTHCL8Bsl4xf8u095iynzOMJKyKv8OONIlYekZUKoM9zsddpbageO8zo_99fp9LkSFoMXm9c-MTieed3sOUcGUDRNb0iLvcPyUQpwADRA6oYmFbUEJwlHUmAyKEoUh7JCG-pdibYwNV_A/s320/LHC.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5275643801743508338" /></a> <br>Bhttp://www.blogger.com/profile/08074299629184871552noreply@blogger.com1tag:blogger.com,1999:blog-9065778608161354505.post-31444393037448713492008-11-24T11:08:00.001-08:002010-11-22T15:58:41.043-08:004-d portraits at Sangsang Madang, Seoul<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ58hvY_S1fkrRM5udVZUEkfC2Q6BW9knG_a1DRXmpLfUWLDqR8WwcclTZY1x6uCGlzylEslTSB0kZBzZc45lDCozOJuTCbxiRwXETyfMSM19N1VHbAjDqsfw1vduzeUEvgZiO_wos3H5k/s1600-h/DSCF2936.JPG"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 214px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ58hvY_S1fkrRM5udVZUEkfC2Q6BW9knG_a1DRXmpLfUWLDqR8WwcclTZY1x6uCGlzylEslTSB0kZBzZc45lDCozOJuTCbxiRwXETyfMSM19N1VHbAjDqsfw1vduzeUEvgZiO_wos3H5k/s320/DSCF2936.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5272304266023401026" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://farm4.static.flickr.com/3234/2962028254_b73940a8d0_o.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 720px; height: 480px;" src="http://farm4.static.flickr.com/3234/2962028254_b73940a8d0_o.jpg" border="0" alt="" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://farm4.static.flickr.com/3150/2962028316_1ed3a5e6fb_o.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 720px; height: 480px;" src="http://farm4.static.flickr.com/3150/2962028316_1ed3a5e6fb_o.jpg" border="0" alt="" /></a><br /><span class="Apple-style-span" style="border-collapse: collapse; font-family:arial;font-size:13px;"><div><br /></div><br />flatness study : achim at Sangsang Madang, Seoul, Korea<br />October 18th- November 2nd, 2008<div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><span class="Apple-style-span" style="font-size:small;">Many of us are frustrated with the paucity of depth of the media simulacra. 3-d computer animation has become an extremely effective and popular means of avoiding this problem.</span></div><div><span class="Apple-style-span" style="font-size:small;"><br /></span></div><div><span class="Apple-style-span" style="font-size:small;">Much of our most vital information today, however, comes to us in the form of photographic and videographic documents. Compared to computer-generated ones, these documents are far more ungainly to work with in attempts to engender a more dimensional documentary media work. </span></div><div><span class="Apple-style-span" style="font-size:small;">The documents are ungainly with the richness of information about the world they contain, thus the question of resolution includes the question of discoursive priorities.</span></div><div><span class="Apple-style-span" style="font-size:small;"><br /></span></div><div><span class="Apple-style-span" style="font-size:small;">The question of the point of view of the documentary gaze, of course has been much discussed.</span></div><div><span class="Apple-style-span" style="font-size:small;"><br /></span></div><div><span class="Apple-style-span" style="font-size:small;">Photo- videographic documents represent a view through a lens, light reflecting off the subject and into the receptor near the documentarist. </span></div><div><span class="Apple-style-span" style="font-size:small;">We get a slice of life, light-thin and glowing. What it lacks in depth, me make up for with our imagination, this is the double bind of today's media. </span></div><div><span class="Apple-style-span" style="font-size:small;"><br /></span></div><div><span class="Apple-style-span" style="font-size:small;">McLuhan's cool media is lacking a lot of detail and thus allows us to be more active making up for the missing part. This is the fascination and the frustration with new media.</span></div><div><span class="Apple-style-span" style="font-size:small;"><br /></span></div><div><span class="Apple-style-span" style="font-size:small;">In Flatness Studies I am trying to warm up cool media by presenting a video document, almost a portrait of a person in a moment of their life, but from several vantage points at once.</span></div><div><span class="Apple-style-span" style="font-size:small;">In a way, the process hearkens back to the early days of photography where the subject had to remain still for a long time. </span></div><div><span class="Apple-style-span" style="font-size:small;"><br /></span></div><div><span class="Apple-style-span" style="font-size:small;">The young man in this portrait is about to join the army to do his compulsory service. I asked him what he feared and hoped most will have changed in him once he has completed his service.</span></div><div><span class="Apple-style-span" style="font-size:small;"><br /></span></div><div><span class="Apple-style-span" style="font-size:small;">Here, making the most of the capacity of video to give at least the depth of time, the moment of portraiture can be expanded. In the case of this work, the moment is between 4/5ths of a second and 6 seconds.<br /></span></div><div><span class="Apple-style-span" style="font-size:small;"><br /></span></div><div><span class="Apple-style-span" style="font-size:small;">The result is a kind of sculptural modeling of the long moment using flat media. The interesting thing for me is the '</span><span style="font-style: italic; "><span class="Apple-style-span" style="font-size:small;">déclenche</span></span><span class="Apple-style-span" style="font-size:small;">' (what is released) as the temporal fact of each particular document begins to meld, since, of course each vantage point of the 'same' expression must have taken place at a different historical time. We have an insight into the nature of the most important activity for the creation of meaning in the age of information overflow, that of editing.</span></div><div><span class="Apple-style-span" style="font-size:small;"><br /></span></div><div><span class="Apple-style-span" style="font-size:small;">In 2009, I was invited to Banff New Media Institute to further develop the Flatness Studies series into the <a href="http://g4t.info/flatness.pdf">4-D Photo Studio</a>.</span></div><div><span class="Apple-style-span" style="font-size:small;"> </span></div></span>Bhttp://www.blogger.com/profile/08074299629184871552noreply@blogger.com0tag:blogger.com,1999:blog-9065778608161354505.post-45816033546238740872008-08-30T22:13:00.000-07:002008-08-30T22:27:32.221-07:00blog to blog<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiozH4IIOS9UZ1Y8ESJKpR6_okN8m9SFbQvuxtfKbBYKKmfVYJUByGx5XFf-p8Trs-X7ri5NisWCLMDgK2P_ZOVuZokL6lAZDMPSMxoziWN0tIV7_cQuw98nBY1wK8-S2agRkwPshjQmpU/s1600-h/IMG_0651.JPG"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiozH4IIOS9UZ1Y8ESJKpR6_okN8m9SFbQvuxtfKbBYKKmfVYJUByGx5XFf-p8Trs-X7ri5NisWCLMDgK2P_ZOVuZokL6lAZDMPSMxoziWN0tIV7_cQuw98nBY1wK8-S2agRkwPshjQmpU/s320/IMG_0651.JPG" alt="" id="BLOGGER_PHOTO_ID_5240548436034866802" border="0" /></a><br /><br />for the last month and a half I have been busy with this:<br /><a href="http://www.sfxseoul.org">http://www.sfxseoul.org</a><br /><a href="http://blog.naver.com/sfxseoul">http://blog.naver.com/sfxseoul</a><br /><a href="http://www.koreatimes.co.kr/www/news/art/2008/08/148_29672.html">http://www.koreatimes.co.kr/www/news/art/2008/08/148_29672.html</a><br /><br />I'll be back to blog here soonBhttp://www.blogger.com/profile/08074299629184871552noreply@blogger.com0tag:blogger.com,1999:blog-9065778608161354505.post-51282499859412469462008-06-14T21:45:00.000-07:002015-06-23T08:22:32.461-07:00The Obsolescence of the Flesh<span style="font-size: 180%;">The Obsolescence of the Flesh, part 1</span><br />
The Flattening of the World<br />
By Baruch Gottlieb<br />
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<span style="font-size: 85%;"><span style="font-style: italic;">“Only open wide your eyes, only disregard what you cannot understand, and you will see that the ploughman whose intelligence and ideas extend no further than the bounds of his furrow, does not differ essentially from the greatest genius.”(1)</span></span><br />
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At issue is the tissue of digital media, it’s materiality, it’s substance.<br />
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The contemporary citizen of the media-sphere, a-swath in information of every kind, may experience a depletion of <i>meaning</i> with the increasing ease of access to an ever-wider array of contents of various types. Do these contents individually somehow thus lose meaning? And, if so, how does the experience of the world lose meaning as a result of technological saturation? I will attempt to approach these questions in the lines that follow. My aim is, furthermore, to suggest a radical approach to counter this trend, a simple intellectual exercise which, when practiced, may reveal unexpectedly vast mines of meaning hidden in the surfaces of the technologies right before our eyes.<br />
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The explosive creative potential of digital media comes with homogeneity. This homogeneity begins with a flattening. Just as photographic printing allowed for Dada collages of all kinds of heretofore incongruous imagery with text breaking down the hegemonies of established meaning and cracking open the white light of pure electrical expression. All the things of world, flattened photographically into print, became interchangeable, and thus infinitely juxtaposable, at once unleashing enormous creative potential , and destabilizing old systems of meaning. Flattening meant equally, that the high-budget glamour shot of famous actresses could be on the same page as the humble writing of an unknown poet, Mainstream culture was appropriated into art through collage long before Warhol made it central.<br />
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With this leveling of content, this flattening, however, no new meanings were created, in fact, artistic discourse became polarized between a conservativism which relies on creating luxury products for collectors and, a new form of pure art which valued the un-commodified gesture of the artist, above all. Fluxus, the anti-art-capital-art movement par excellence, fittingly embodies this dilemma...<br />
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George Maciunas and his amorphous ‘group’ explored a new form of interventionist social experimentation, they called art. Fluxus works were purposely incomplete, and often made up of conflicting and incongruous contents. The agenda was the liberation of the creative and emancipatory potential of the mundane.<br />
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With digital technology we achieve the next stage of homogenization of contents. Now, not only images and text, but also sounds and moving images, in fact computer records of any kind, credit, medical travel, are interchangeably made of the same stuff, the homogeneous atoms of electronic information known as 'bits'. As such, they can be treated with refreshing equanimity by the computers we need to view digital content.<br />
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The equanimity of computers wears off on us. The computer does not know the difference between a photo of a pile of human corpses and a recipe for cheesecake, or the recording of a baby’s first words. The creative potential of the digital revolution of flattening is even more exponential that that of simple physical flattening. It is claimed the possibilities are literally endless.<br />
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One thing we can say for sure, with seemingly endless possibilities it becomes ever more difficult to make a choice. Meaning always involves a choice, of priorities, one thing must be more important than another, for there to be meaning.<br />
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Lets look at the materiality of an item of digital media. We can trace it back in two ways, it’s direct empirical materiality and the materiality of its origin. Given that all digital contents are made of homogeneous bits, how did this particular smidgen of bits take the form of a photo or of a pop song, what is the historicity of this package of bits, this media item?<br />
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Following the direct empirical materiality we can only say that the media item has one fundamental ingredient: energy, or electricity. Electrical switches still provide the basis for all computation today. The switch is on or off, the dimensionality of digital media is one.<br />
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Human beings communicate today with increasing alacrity due to the flattening of representational forms. However, to make the process even more efficient, human beings are adapting to the machine circumstances of their intercourse and affecting a form of flattening on themselves. The satisfaction of social networking, for example, increases with the amount and the currency of the actual information one ‘shares’ with others using the service. <br />
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In order to ‘share’, one must translate one’s gravity-bound three- (or multi-) dimensional humanity into digital forms, which are apparently two-dimensional and weightless on the display, and in fact part of the one-dimensional global ocean of digital media. The process of the ‘flattening’ of real-time human experience has begun. By all reports, they day is not far off where citizens will voluntarily implant themselves with digital technology in order to share with more spontaneity and versatility. This means, for humanity, three-dimensionality is acquiring nostalgia, as it acquires obsolescence.<br />
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The relationship between one-dimensional electrical data and the obsolescing human three-dimensionality is stands for is both cultural and physical.<br />
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The cultural relationship includes, of course, the economic value of the media contents, the meanings of which are largely allusion, like any language, an adaptable system of semantic prompts intended to motivate the subject the satisfaction of social needs i.e. Truth.<br />
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The homogeneity of digital media offers us a new <i>lingua franca</i> which is not only used for semantic contents but also as the apparatus of their conveyance. As Manovich described, program and contents are made of the same stuff, therefore instead of 2+2=4, in digital media the content and the 'functionality' is made of the same stuff , therefore, for the computer, 2=+, two equals plus.<br />
<span style="font-style: italic;">"New media may look like media, but this is only the surface" (2)</span><br />
With no differentiation between content and conveyance, we are bound to the implicit electrical agenda of our technology, which is to be explored through its materiality.<br />
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<span style="font-style: italic;">“Perhaps for the first time in Western Culture, we find revealed the absolutely open dimension of a language no longer able to halt itself, because, never being enclosed in a definitive statement, it can express truth only in some future discourse” (3)</span><br />
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One might argue whether it is the bit of electrical current or of monetary currency which has become the true <i>lingua franca</i> of today’s quest for truth. One may postulate that money represents the fading sign of mass in flattening human relations.<br />
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The physical relationship between one-dimensional digital media and the human organism comes from their shared electrical functionality. It is long known that the ‘high functions’ of the human organism employ electricity inside the body, first intimated by Descartes and de la Mettrie, and finally formalized by JW Ritter(4) . Now we can begin to see how the destiny of the human organism is to increasingly shed its cumbersome physical form and merge electrically with the unceasing data flows of augmented post-human intercourse.<br />
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In the second part of this article I will discuss in detail the material historicity (the materiality of the origin) of the digital media object and explore a strategy to establish a useful paradigm of cultural meaning in the circumstance of humanity merging with it’s data in a one-dimensional ur-reality.<br />
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(1) de La Mettrie, Julien Offray, Man a Machine, 1748 (trans. CM Shalizi 1995), <a href="http://www.cscs.umich.edu/%7Ecrshalizi/LaMettrie/Machine/">http://www.cscs.umich.edu/~crshalizi/LaMettrie/Machine/</a>, accessed 15-06-2008<br />
(2) Manovich, Lev “Language of New Media” MIT Press Cambridge 2001 (p. 47)<br />
(3) Foucault, Jacques “The Order of Things” Routledge, London, 2007, p.45<br />
(4) Ritter, J. W.: Das electrische System der Körper. Ein Versuch. Leipzig: Reclam 1805 (review in Allgemeine Literatur-zeitung No. 31 Jan. 29 1808)<br />
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<span style="font-size: 180%;">The Obsolescence of the Flesh, Part 2</span><br />
The Historical-Material Facts of the Origin of the Digital Document<br />
by Baruch Gottlieb<br />
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In the first part of this article I mentioned two approaches towards describing a materiality of the digital media item. First, I described the 'direct' materiality, which is essentially electric. The second materiality is historical.<br />
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....<br />
I am preparing to publish this in<a href="http://www.amazon.com/Gratitude-Technology-Baruch-Gottlieb/dp/0981997279"> book form</a>, so, for the time being, I have taken the second part off line. If you want to read it, please contact me through this site.<br />
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<span style="font-size: 85%;"></span>Bhttp://www.blogger.com/profile/08074299629184871552noreply@blogger.com0tag:blogger.com,1999:blog-9065778608161354505.post-92017144757439189922008-01-31T18:19:00.000-08:002008-01-31T18:38:56.835-08:00images from Habeas Corpus<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://flickr.com/photos/serfikon/sets/72157603828103634/"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 320px;" src="http://farm3.static.flickr.com/2352/2233259981_8d8b7cd41d_o_d.jpg" alt="" border="0" /></a><br />I finally got some images from the Seoul Marginal Theater Festival people of the live version of Habeas Corpus. Habeas Corpus enterprises a 'syntax of human form' which, derived in part from dance and mime, in an encyclopedic pretension to tell the human stories inside all the technologies we use every day.Bhttp://www.blogger.com/profile/08074299629184871552noreply@blogger.com0tag:blogger.com,1999:blog-9065778608161354505.post-46770710956906473312008-01-27T04:11:00.000-08:002008-01-27T05:17:59.220-08:00Revisiting the Moran Museum Show<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmNm1H-AlTDeVTTFLCNhZNnqzVIPND2b4Y0E1Gn3wCsh0TcVVxkWhe3X_9Ls-BP1KTtv9FHUevbiXH6eR-VhHirm8SEviGTI3EjLyyK9ti4YKQlQXNG8yFtc3OE8sAxj1CEPYl3XYYdYww/s1600-h/faceyellow.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmNm1H-AlTDeVTTFLCNhZNnqzVIPND2b4Y0E1Gn3wCsh0TcVVxkWhe3X_9Ls-BP1KTtv9FHUevbiXH6eR-VhHirm8SEviGTI3EjLyyK9ti4YKQlQXNG8yFtc3OE8sAxj1CEPYl3XYYdYww/s320/faceyellow.jpg" alt="" id="BLOGGER_PHOTO_ID_5160134594039311122" border="0" /></a><br />The "5 colours, I" show is going on at Moran Museum until the end of March, so I thought I'd swing by and make sure everything is still working properly before I take off back home for a couple of weeks.<br /><br />I took the opportunity to replace some of the video clips in the interactive display with some new ones I had been working on before the Songdo project jumped up and swallowed me last week.<br /><br />New in these clips are musical sounds and more complex and delicate time layering. As I was working and reworking the same footage from the construction of the wall, I started to explore the limits of the documentary ability of the data. Without adding new material, how could I give more depth to the representation of labour in the 2-d of the display? The object , as before, was to represent the video emanation, it's luminescence in the Museum space, directly to the labour required for it to exist.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBzPPu03VtSjpZDgGDSWmsD2pt_WfqhYzxPsKTc4LsUMrKIqWRF0XATyPTqZOCKh-CNyXTGHEpe5EQInNDn2kYqq1B5oCtfWFdLtNCOf9KA0ntgBxsBxaySNkpQIjqaSZSVLMPTd07lAta/s1600-h/worker.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBzPPu03VtSjpZDgGDSWmsD2pt_WfqhYzxPsKTc4LsUMrKIqWRF0XATyPTqZOCKh-CNyXTGHEpe5EQInNDn2kYqq1B5oCtfWFdLtNCOf9KA0ntgBxsBxaySNkpQIjqaSZSVLMPTd07lAta/s320/worker.jpg" alt="" id="BLOGGER_PHOTO_ID_5160140125957188386" border="0" /></a>I tried a couple of things in the music, but mainly slowing sounds down until they became harmonic drones, which adds a nice 'choral' touch in the reverberant space.<br /><br />Lots of students around, so I got to see them fiddling around doing a lot of shadow play trying to get the results they wanted from the rudimentary interface. It seems the best way to navigate the database in this work is to dance through projection space, that fits just right!Bhttp://www.blogger.com/profile/08074299629184871552noreply@blogger.com0tag:blogger.com,1999:blog-9065778608161354505.post-15204992585989310902008-01-01T01:44:00.000-08:002008-01-01T09:52:56.111-08:00Typing looks like thinking<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-8ZKp58WbQ6QVCMRim0MfeGS3NTG2u5NZZK11quk7cv883g4wl1MaNejCgZNXxlHhA4S9Lx1SCJboo5WMQbN6QnNRSAKTZqqg-roWG0bEklo-j-_QIcDcR3tQVOsDqnTBZSlDBD0syVa8/s1600-h/iowa.JPG"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-8ZKp58WbQ6QVCMRim0MfeGS3NTG2u5NZZK11quk7cv883g4wl1MaNejCgZNXxlHhA4S9Lx1SCJboo5WMQbN6QnNRSAKTZqqg-roWG0bEklo-j-_QIcDcR3tQVOsDqnTBZSlDBD0syVa8/s320/iowa.JPG" alt="" id="BLOGGER_PHOTO_ID_5150449999039521714" border="0" /></a><br />So does writing, handwriting, maybe even more that typing, which may look like operating a machine, which does not necessarily involve any thinking.<br /><br />I started thinking (or typing) on this theme today, after flipping through the comments section of the nth news item I read today, which was <a href="http://www.desmoinesregister.com/apps/pbcs.dll/article?AID=/20071231/NEWS09/71231044">about the latest poll figures from Iowa </a>. If you've been these 'comments' recently, you've probably noticed that they seem increasingly to be produced by people working for one or another of the candidates.<br /><br />Many of these posters may be unpaid volunteers instructed at the campaign headquarters about how and what to post as part of their democracy-minded enthusiasm to get the candidate of their 'choice' elected. The result is that there are a lot of well-researched yet somewhat generic posts which need only have the minutest connection to the theme and tenor of the article they are 'commenting' on.<br /><br />These msm comments sections have obviously become an integral forum for electioneering. What I wanted to comment on in my own space in my own blog (please feel free to comment below)is the veneer of independent and coherent thought that gives the comments in the comments section the merest credibility in the first place, which is, McLuhan would likely concur, all due to the uniformity of type.<br /><br />Imagine, if you will, all this copy-and-pasting of statistics, names and references going on, if we had to do it by hand with original documents and scissors and glue. It would be pretty hard to get a credible-looking document together. The ferocious and desperate creativity which goes into the creation of these generic opinion-missives is invisible behind the uniform type of the <a href="http://en.wikipedia.org/wiki/Cascading_Style_Sheets">css</a>. As is the election machine, or lack of one, behind the poster's name.<br /><br />ss<span style="font-size:130%;">sss<span style="font-size:180%;">so</span>ooo</span>oo ttttttt<span style="font-size:130%;">hhhhhh<span style="font-size:180%;">eeeeee</span></span> uniform typeface which looks like thinking makes possible all manner of new subterfuge. No better and no worse that any old subterfuge. And more positively, it has a certain leveling effect, whereby, trained and backed electioneering (or otherwise campaigning) posters' subterfuge look pretty well the same as that of any individuals. (are there any still out there? and, why do you even bother? you know the only people who have anything substantial to say get ground out of the process early on.)<br /><br />I guess people still post on their own initiative sometimes 'because they can', because the technology allows them to experience a certain leveling in the appearance of authority and cogency in the uniform typeface of the comments section. Andy Warhol celebrated the fact that the the Coca Cola I drink is the same Coca Cola the president drinks. Can we also see this 'democratic' (Warhol would say 'American') leveling in electronic <a href="http://209.85.175.104/search?q=cache:dArSr_0wT6UJ:www.digitallantern.net/mcluhan/mcluhanplayboy.htm+repeatable+type+mcluhan&hl=en&ct=clnk&cd=1&client=firefox-a">repeatable type</a>?Bhttp://www.blogger.com/profile/08074299629184871552noreply@blogger.com0tag:blogger.com,1999:blog-9065778608161354505.post-9477986802290271592007-12-25T04:51:00.001-08:002007-12-25T04:56:00.654-08:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.moranmuseum.org/cyber/exhibition_v.html?display_type=plan&state=after&num=255"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCJC8ZX_5QM0Q85QArq5jNcTmznTFfBclsPAdfLFdhlR4OHFruAiH_kAulB06NG34sD51OVXKL6LgushcpG1K45OC6HV2gm_OIcAce38SVRRqv9MN1R2H6ZHxQlnGgd6YueZE-Yj3NbOKj/s320/lol.jpg" alt="" id="BLOGGER_PHOTO_ID_5147892608007758754" border="0" /></a>Bhttp://www.blogger.com/profile/08074299629184871552noreply@blogger.com0tag:blogger.com,1999:blog-9065778608161354505.post-42940353445177293792007-11-29T08:23:00.001-08:002007-12-06T22:11:10.014-08:00red labour<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8umcsGWH3TTFz2dpA5n25DEGnv4tL_PadxhrPgJsoHsBiuoLXHPn701mkSMqkEJbnnlFb9jyw1-Xt2Gd-9uK9L4StRQMoUNxWQjXh4chVdnLpAOvcDtKsx8MkfLWcRL-NZH9u3fYK0372/s1600-h/works2a.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8umcsGWH3TTFz2dpA5n25DEGnv4tL_PadxhrPgJsoHsBiuoLXHPn701mkSMqkEJbnnlFb9jyw1-Xt2Gd-9uK9L4StRQMoUNxWQjXh4chVdnLpAOvcDtKsx8MkfLWcRL-NZH9u3fYK0372/s320/works2a.jpg" alt="" id="BLOGGER_PHOTO_ID_5138299630918158914" border="0" /></a><br /><br /><br />I realised today as I was shooting with Kim Jooryeong and some red cellophane that my work for <a href="http://bbs.keyhole.com/ubb/download.php?Number=1057083">Moran Museum</a> was looking vaguely Socialist-Realist. I always had a soft spot for those larger-than-life 'ordinary' people workers, mothers, etc. That's one thing old-school communism did well...sentimentalism.Bhttp://www.blogger.com/profile/08074299629184871552noreply@blogger.com0tag:blogger.com,1999:blog-9065778608161354505.post-27099781772699105312007-11-28T08:44:00.000-08:002007-11-28T09:21:17.287-08:00productivity inertia<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://inigomanglano-ovalle.com/index.html"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHOGA3OB4JtgG9_bOFe_KWCvVaCq74mdizoKSRlJiNxOllk5iwxB4faHDH1PHujI_3soNPfgz29Ihg65NMv0lbm_wVF0v8ivAJfBTsmEdYLObEpYkIXjfAoOLllx1slCU5ciX7FXycmBOV/s320/thumb11.jpg" alt="" id="BLOGGER_PHOTO_ID_5137934618827541042" border="0" /></a><br><br />I was touring around the net try find some adhesive red film of the type<br />Iñigo Manglano-Ovalle used the foyer of his(her?) installation at documenta this year. It was amazing stuff, never have I actually felt anything like 'polarized' light before, although I'm not sure that's the correct word for the effect of the red-filtering. It was a blazingly sunny day outside. <br> <br> I am looking for the film for my own red-filtered daylight work, but my interest is more about the low end of the visible spectrum than the doomsday political cajolery engaged in Manglano-Ovalle's work.<br> <br> <br />As usual I am making a substantial inquiry into the meaning of technology in this new installation at the Moran Museum. Generally my thesis calls for more methodical and far-reaching examination of the human/social/material factors active in 'new media'. An enquiry into who made the actual pieces of technology I use to make media art is central. Tomorrow I will shoot the construction of a wall by two workers hired by the museum, I will use an actress to represent myself, but still, I can already anticipate the frisson of recognition when the three interlocutors are with me and my cameras in the room, the real intractable destiny of these people tied with mine only for the most whimsical of moments. And then? And then becomes "who they were before they met you" Then it becomes: they might easily have never met you.<br /><br> <br> <br />Back to the search for the red film, first of all, I found that this film is no joke. It is a serious petro-chemical product created by one of the most violent industries in this world of peace. I visited some sites of local companies who produce similar films where the (necessarily) sterile production facilities are exposed, modern and standardized. I could almost hear the owner of the film factory telling me proudly about the growth of his company, how they are able to produce at international standard now after 30 years of desperate catching up.<br /><br> <br> <br />Korea wants to be comfortable, petro-chemicals are a good way. Later in the day I was wandering through the Kyobo bookstore looking for some texts to tie the last loose ends of my thesis. There were hundreds of people milling around in the store, but nobody was getting phased. Contentment reigns....and it is nice. <br> What? would I rather have all these people jostling and shoving each other for crumbs and gristle? No. This is peace. Peace is good. Peace is the only way. The price is incalculable. Is it even worth to begin the tally?Bhttp://www.blogger.com/profile/08074299629184871552noreply@blogger.com5tag:blogger.com,1999:blog-9065778608161354505.post-79559119539011296782007-11-22T20:12:00.000-08:002007-11-28T09:22:03.277-08:00Moran Museum show<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikpO-5LgCLqElSrcXTLbzxBS-gZEp4RGZ6xav_MKH3d4iaRPw320gwSdbeVVC1iuIxlIYrPjQb6l-7WBuZYdcAy-P-iBttveOJkHpcjwLCAH25Veo2mcdEWcFGrlNCIRi3hNprLa2KptZf/s1600-h/1.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikpO-5LgCLqElSrcXTLbzxBS-gZEp4RGZ6xav_MKH3d4iaRPw320gwSdbeVVC1iuIxlIYrPjQb6l-7WBuZYdcAy-P-iBttveOJkHpcjwLCAH25Veo2mcdEWcFGrlNCIRi3hNprLa2KptZf/s320/1.jpg" alt="" id="BLOGGER_PHOTO_ID_5135884274454874658" border="0" /></a><br />I am doing an installation for the Moran Museum in Gyeonggi-Do next weekBhttp://www.blogger.com/profile/08074299629184871552noreply@blogger.com2tag:blogger.com,1999:blog-9065778608161354505.post-80118802910924560272007-11-15T23:39:00.000-08:002007-11-23T00:02:38.032-08:00test<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dwsCMZnZ89BJUPa6nSafNL005YfGn4YP8jDdqgvyKJB31btazpn5mCJnEcXcXkPgd0jMpgxYR4zWLraeFnukA' class='b-hbp-video b-uploaded' frameborder='0'></iframe><br /><br /><br /><a href="http://flickr.com/photo_zoom.gne?id=2056105678&context=photostream&size=l">this </a>is my<span style="color: rgb(51, 51, 255);"> feet</span> with <span style="font-size:100%;">minhees</span><a href="http://flickr.com/photos/15840736@N07/2056105678/in/photostream"> </a><span style="font-size:180%;"><a href="http://flickr.com/photos/15840736@N07/2056105678/in/photostream">image</a><br /><a href="http://www.blogger.com/youtube.com/my_videos?&session=BY8SD7KVLyEEDOGt0REMPrbAGm6ea93MTBnEZ0UH1B_nxpZjKM62E3ChhxllVEA28svgP13j0GO6ypYzwEzlc2BotOWNzFCsFouripxs2Etet8YuB0khmYSSFK06XbFT5jbDCfEcNs-unFvj_vnxsSxGjxFXlV6ob5A1eDTb7BSppt8UdpLCGW9clUm4Jxdv-bqjArEY7NIcF3xCQAA04dGiCV2ud_FwLJk58fvDxLrPkBgg73YtTQ8H1SoUmlfPY5hoslPX3QTjXNg0O8pFsTF8qBKvrZ6c">available here</a><br /><br /><br /></span>Bhttp://www.blogger.com/profile/08074299629184871552noreply@blogger.com2