INTIMATE SCIENCE [II]

Philip Ross, Myotecture Series, 2006 - present. 
Ganoderma lucidum fungus

An experiment in growing architectural structures from Ganoderma lucid, also known as Reishi or Ling Chi. The fungus is environmentally beneficial as well as a low cost substitute for wood, etc. Ross writes, “Mushrooms digest cellulose and transform it into chitin, the same material that insect shells are made from. The bricks have the feel of a composite material with a core of spongy cross-grained pulp that becomes progressively denser towards its outer skin. The skin itself is incredibly hard, shatter resistant, and can handle enormous amounts of compression. Shaping and cutting the bricks destroyed our files, rasps and saws.”

Exhibiting artists: BCL (Tokyo), Center for Post-Natural History (Pittsburgh), Markus Kayser (London), Allison Kudla (Seattle), Machine Project (Los Angeles), and Philip Ross (San Francisco).

INTIMATE SCIENCE

Sheila C. Johnson Design Center
Anna-Maria and Stephen Kellen Gallery

February 6 – April 15, 2014

The most recent manifestation of artists working at the intersection of art, science, and technology demonstrates a distinctly autodidactic, heuristic approach to understanding the physical and natural world. Intimate Science features artists who are engaged in non-disciplinary inquiry; they aren’t allied to the customs of any single field, and therefore have license to reach beyond conventions. This kind of practice hinges on up-close observation, experiential learning, and inventing new ways for the public to participate in the process. And through their engagement with “intimate science,” a more knowledgeable public might well be able to influence what research is supported and adopted by the larger culture, and the walls of science can become more transparent. (Read photo captions of further info)

"In an interesting new development in the art world, a generation of artists [is] now collecting data about their world using technological instruments but for cultural purposes. Shared tool-using leads to overlapping epistemologies and ontologies. These artists both make powerful art and help make science intimate, sensual, intuitive." — Roger Malina, physicist, astronomer and executive editor of Leonardo

Exhibiting artists: BCL (Tokyo), Center for Post-Natural History (Pittsburgh), Markus Kayser (London), Allison Kudla (Seattle), Machine Project (Los Angeles), and Philip Ross (San Francisco).

Dissertation Proposal: Thoughts/Draft

ESSAYS: 

  1. The Sublime Seduction of the Subject: the object seduces/enchants the subject into disappearance or a sort of self-aware mirroring/doubling. How can objects lead someone astray, make them question their perspective and the meaning of meaning?

Baudrillard, Zizek, Gonzalez, Kant, Ed Atkin, Mariko Mori, Metamodernism, New Aesthetic, James Bridle, Utopia, Cordwainer Smith (sci-fi), Disappearing Into One: Zabludowicz Collection, Luke Turner

  1. The Valley of the Uncanny: how can we become the Object? Becoming Object, becoming cyborg. The necessity of the illusion in order to maintain the delusion of our self-constructed reality: the Object is our contemporary Fantasy and we surrender/worship it. Two strategies in becoming object: subverting dimensionality (pretending to be artificial/2D) and elevating the banal: the consumerist fantasy, the accelerationist sanctuary, encapsulated somewhere been the glitch and the GIF.

Theodor Adorno, Baudrillard, Masahiro Mori (the valley of the uncanny), Dig: Daniel Silver, Allan McCollum, Bataille, Objected Oriented Ontology, Oneohtrix Point Never, Tiqqun, Adam Harper, James Bridle, Adam Ferriss, Daniel Rourke, Sophie’s World, Zizek, Borges, John Rajchman, Bourriaud, Deleuze

  1. Spectacle in Cyberspace: the Virtual Plaza, the uncanny digital space, the curation of virtual currency + capital + space. We have become Object. Now we seek to become Context-Object. To dissolve into digital space, remediate it, rearrange it, generatively. We insist on imbuing the Object/Space with meaning in order to imbue ourselves with meaning. The curated meme, the social collective, the online label: we’ve constructed our contemporary objects of curiosity inside the metaverse of the contemporary Wunderkammern (our own personalised universe). Objects within the Context-Object, subverted ourselves into 2D with so many layers inside 3D space we’ve become 4D. A warning: we must revel in the spectacle just as we must not be consumed by it, curated by paid-by-click advertising.

    “Someone asks me: if [ the vessel ] is already embedded with meaning, why would you worry about filling this space? Perhaps because the fundamental human condition is to strive to be at the forefront of the taskforce for the search for Meaning. Even if the vessel is not empty, we ignore this because to realise that the vessel can function without us would make us lose our meaning and render us hollow. The Net is the mirror that reflects us back to ourselves. Smile.”

    Alluquere Rosanne Stone, Michael Heim, remediation: Bolter & Grusin, Horrocks, sound object: Brandon LaBelle, context-object, Chrome WebGL, City of Bits: William J. Mitchell, the Wrong: New Digital Art Biennale, Undervolt & Co, Yoshihide Sodeoka, Zizek, Space Collective, Daniel Rourke, PC Music, New Aesthetic, reddit, buzzfeed, 4chan, Everyday Analysis, Justine Sacco, Mr. Wilson’s Cabinet of Wonder; the Museum of Jurassic Technology: Lawrence Weschler. Wunderkammern. Thamsanqa Jantjie, Bogost

First essay: the Object consumes the Subject.

Second essay: The Subject becomes the Object.

Third essay: The Object is consumed within the Context-Object. (The Pinocchio Whale, the Cocoon): THE FILTER, THE FRAME.

 A cycle of consistent presumption of the Cognitariat. An ecosystem of creative, productive remediation that mediates the self back to itself - the object back to the subject-object. As the subject aims to become virtual/digitalised/3D into object, so the digital realm becomes more 3D than ever. Combine the two and we get an epic multi-perspective construction of the 3D: the new way to strive towards the future?

After all, language is yet another form of the remediation of meaning, of culture, of society. What if it is not only the writing that accelerates but also the physical form it exists in? Printed on vellum or some kind of semi-translucent paper? Layers of meaning on top of each other in some way that can be manipulated/played with. Diagrams superimposed on images on text. Holograms? Lenticular printing…?

Place words themselves into 3D space? MAKE VIEWER WEAR 3D GLASSES TO SEE IMAGES SUPERIMPOSED ON ACETATE?

What comes out as 4D? Is it the subject, the object or the context-object? Or is it a sleekly transformative creature, glistening wet as it emerges from the husk, the ghost emerging from the shell? It is not utterly human or machine or even necessarily cyborg… its parts, made anew, are organic, having not been post-fabricated but constructed from our electric dreams, the accelerated devotion, belief and investment towards the Contemporary Fantasy.

The Dissertation is the Context-Object (cocoon) from which New Meaning emerges. Write the essay about the context-object? Or if the essay is the context-object, just write about the object? Describe the dissertation like a scientific, anthropological study of a new being? The pulsing, glittering qualities of a GIF, the capricious unpredictability of a meme, the dark secrets of the Deep Web. The Internet Creature? The Post-Internet Creature? The Post-Machine Machine? The Post-Machine Human? Continue researching _ _ _ |

prostheticknowledge:

The End of Genius

Short 3D animated abstract experimental film by students Chris Ioannou & Andreas Platis - video embedded below:

This film is an animation we have started, in order to experiment on cinematography, using models we have previously produced during our studies in architecture.
We didn’t have an overall scenario to begin with but rather we have treated every scene separately in a linear
way producing a succession of abstract actions leading to a chaotic subconscious narration.

More Here

Tools: Vray, Autodesk 3ds Max, Photoshop CC, After Effects CC, Premiere CC

wetwareontologies:


After 4 billion years, a new tree will sprout in the ‘‘Garden of Eden’’. Non-DNA-based biological systems will be a safer place to conduct SB experiments and applications
Schmidt

Markus Schmidts updated take on “Haeckel Tree of Life from “The evolution of man; a popular exposition of the principal points of human ontogeny and phylogeny. New York: D. Appleton and Company.” - 1883.

wetwareontologies:

After 4 billion years, a new tree will sprout in the ‘‘Garden of Eden’’. Non-DNA-based biological systems will be a safer place to conduct SB experiments and applications

Schmidt

Markus Schmidts updated take on “Haeckel Tree of Life from “The evolution of man; a popular exposition of the principal points of human ontogeny and phylogeny. New York: D. Appleton and Company.” - 1883.

PRINCELING

What Does Sound Look Like, NPR: Skunkbear

When light travels through areas of different air density, it bends. You’ve probably noticed the way distant pavement seems to shimmer on a hot day, or the way stars appear to twinkle. You’re seeing light that has been distorted as it passes through varying air densities, which are in turn created by varying temperatures and pressures.

Schlieren Flow Visualization can be used to visually capture these changes in density: the rising heat from a candle, the turbulence around an airplane wing, the plume of a sneeze … even sound. 

Tapis Magiques, Miguel Chevalier

Magic Carpets revisit the tradition of the Islamic art, in particular the mosaic and the carpets. A huge light carpet covers the floor of Sacré Coeur church. When the viewer moves, the trajectory of the curves is disrupted under their feet. This world of colors and forms in movement, invites us into the magic universe of the “Arabian Nights” and the flying carpets with the music of Michel Redolfi.