#eileen isagon skyers

[dorothysantos]

Trans Hirstory in 99 Objects

Fortunate to be included in this epic anthology. I had the opportunity to write an essay about artist Chelsea Thompto’s work Landmarks for the book. Many brilliant artists and writers in this collection! More information below. “Edited by David Evans Frantz, Christina Linden, and Chris E. Vargas A compelling exploration of trans art, activism, and resistance.Spanning over four centuries, this…

[takahashicleaning]

ＴＥＤにて

アイリーン・イサゴン・スカイアーズ：AIアートの時代には、独創性はどのように見えますか？

（詳しくご覧になりたい場合は上記リンクからどうぞ）

これからの未来のヴィジョンとしての大前提は・・・

チャットGPTなどのAGIは、人工知能時代には、セレンディピティ的な人生を良くしてくれるメッセージを伝えてくれることの他に貨幣を事前分配、再分配して生活を下支えする役割に徹するべき。

例えば、GAFAMのようにアカウントに本人以外がアクセスしたら自動的にお知らせしてくれる方向性は良いサポートです。

人間と機械の創造性が出会うとき、何が起こるのか？

古典的な作品から訓練されたAIモデルが無限に続くような肖像画を生成したり、別世界の生命体をあり得ないほど詳細に構想するニューラルネットワークを生み出したり

メディアアートのキュレーター、アイリーン・イサゴン・スカイヤーズは、ますますテクノロジー化が進む未来を取り入れた、心を揺さぶるアートを紹介し

AIが人間の想像力の範囲をいかに広げ、私たちだけでは決してデザインできない世界を創造する手助けになるかを示す。

人工知能によって生み出された一つの作品を思い描いてほしい。私たちの多くがAIアートといえば、このようなものを想像するに違いない。

おそらくみんな、全然違うものを想像しているはずだ。

今日、DALL-E、Stable Diffusion、Midjourneyのような機械学習モデルによって、私たちはAIが奇妙な生命体から想像上のインフルエンサー、まったく異質で不思議な種類のイメージまで、あらゆるものを生み出すのを見てきた。

テクノロジーとしてのAIは私たちにとって魅力的だ。

なぜなら、私たちは本質的に理解できないものに惹かれるからだ。そして、ニューラルネットワークが、あらゆる世代、あらゆる芸術運動。

数百万もの画像から作られた何千もの他の画像のデータを1回の単純なスキャンで処理することで、見慣れたものでありながら、驚くほど見慣れないビジュアルを作り出すことができる。

もっと詩的な言い方をすれば、AIは私たちを映し出しているのだ。

世界は私たちの目の前で変わり始めており、基本的に2つの考え方に分かれている。

AIが人間の創造性に大きな脅威をもたらすと考える悲観主義者。そして、AIは人間の創造性の延長線上にあると考える楽観主義者だ。

では、アーティストとして真に独創的であることはもはや可能なのだろうか？

機械によって作られた芸術作品に批判的に関わるにはどうすればいいのだろうか？

私たちは、AIの境界を真に押し広げているアーティストたちのメタファー、物語、洞察を見ることから始めることができる。

このテクノロジーとの出会いの可能性をほんの少し垣間見せてくれる、喜び、驚き、戸惑い、不思議の瞬間に目を向けてみよう。

というのも、これまで見てきたように、これは美的なものと同様に、非常に道徳的で倫理的な出会いだからだ。

マリオ・クリンゲマンはこの作品を2019年にオークションで落札した。17世紀から19世紀にかけての何千もの肖像画で訓練されたAIモデルが稼働している。

このモデルは、人間の顔に関する不気味な解釈を常に明らかにする。そのひとつひとつがユニークで、機械が自身の出力を読み取る際にリアルタイムで生成される。

見る者にとっては、新しい肖像画を思い浮かべるたびに、機械の幻覚を覗いているようなものだ。

ソフィア・クレスポのシリーズ「Neural Zoo」は、ニューラルネットワークによる現実世界の解釈を用いて、非現実的な海の生物や多様な生物形態を生成する。

カエルは花のように見える。半透明のクラゲには鮮やかな内臓がある。これらの画像に実在する生物は1つもないが、AIによって私たちは別世界の生命体をあり得ないほど詳細に思い描くことができる。

サラ・ルディのこの抽象的な作品は、デジタル絵画として始まった。

DALL-E 2のアウトペインティングで「引き裂かれたエッジ」のプロンプトを使い、16×9の比率に合うように補強された。

アウトペインティングでは、"torn edges "のようなシンプルなプロンプトを使用することで、アーティストが枠を超えて創造性を拡張することができる。

イヴォナ・タウのこの作品は、写真と読めるかもしれないが、AIの作品でもある。

これは、アーティストの個人的な写真コレクションから何千もの画像をGANで学習させた結果である。

タウは彼女自身の写真からキュレーションを行い、モデルの入力と出力を注意深く選んでいる。多くの点で、AIアートはキュレーションの一形態である。

一度に何百もの画像から選択するプロセスになる。このビデオは、タウの写真の膨大なデータセットで訓練されたモデルから引き出されたもので、その結果、一種のアルゴリズミック・メモリーが出来上がった。

しかし、彼女は、忘却や儚い記憶を象徴するために、モデル用に破壊されたデータセットも作成した。

最後はクレア・シルバーだ。

シルバーは自らを「コラボレーティブAIアーティスト」と呼んでいる。彼女のプロセスは、ツールの進化とともに常に進化している。

彼女はしばしばインペインティングのテクニックを駆使し、画像のほんの一部分をマスキングして変形��せる。

この肖像画のために、彼女は、アップルペンシルでさまざまな部分の不透明度を変え、少しずつ変化させている。

彼女はこのテクニックを、油絵のグレージングになぞらえている。シルバーは、AIが生成した画像をあるモデルから別のモデルに送り込み、機械そのものに新しい言語と理解の形を効果的に作り出している。

彼女の作品は、半分はマスターペインティング、半分はデジタルアートだ。古くて新しい。

この作品は、ジョン・シンガー・サージェント、イヴリン・デ・モーガン、グスタフ・クリムトといった有名な芸術家からインスピレーションを得ており、ほとんどオマージュのようなものだ。

異なるAIモデルは異なる情報に基づいて訓練されるため、まるで異なる言語を話しているようなものだ。

AIは今やどこにでもある。

私たちは今、意識するしないにかかわらず、AIと共同創造しているのです。

このような世界の一部になりたいのであれば、一人でデザインすることはできない。

このような新しい種類のイメージや予測、形態について文化的なリテラシーを身につけたいのであれば、アーティストの作品に目を向けることは、非常に生産的な出発点となる。

私たちは、ますますテクノロジー化が進む未来に備える必要があり、それは、私たちの指先が今持っている創造的な可能性を倍増させるだけなのだ。

ありがとう。

(個人的なアイデア)

イリヤ・サツキバーの数式をMMT(現代貨幣理論)とマクロ経済学からの視点で解釈してみると・・・

ある仮説に辿り着いた！

数式は「y=a/(2040-x)」でyはGNP。xは西暦の年数。ジェレーティブ人工知能が登場した2020年代から次第に急勾配になり

この先も数式どおりにGNPが成長すれば、2040年には無限大に到達する。

これまで人工知能時代に関したうっすらイメージ位のインスピレーションだったが、この数式が「様々な国家のGNPの推移」に当てはまる

という情報から確信に変わった！

この数式を根拠にすれば、基本的人権を貨幣数で表現できるかもしれない。ダニエル・カーネマンによると幸せを感じる年収は600万円あたり。

時給にすると時給3000円あたりと計算できるからこのあたりになるまで行政府は毎月の給付金をプラスして下支えをしていく基準にする。

資本主義なので競争はしてもらうけど、景気が冷えて時給が低くなりがちな時期は毎月の給付金を手厚く。

景気が加熱したら(中央銀行が金利を上げる前に)時給が上がりがちになるため毎月の給付金は年収に応じて減らしていく。

付加価値は、人と人にしか発生しないので対価としての貨幣は低収入者になればなるほど、多くの貨幣を国家が与える根拠にもなる。

サミュエルソンも「事前分配、再分配の給付金の支給」のアイデア以外は似たような事を言ってるけど最新の金融工学のテクノロジーは織り込まれていない。

このますます加速する人工知能時代とバランス、折り合いをとって同時に達成させていくことで・・・

このまま巡航速度で経済を成長させつつ、最新の金融工学のテクノロジーとインターネットをもってすれば・・・

働きながらも給付金を与える基本的人権的なベーシックインカム型も導入できるし、軽犯罪を急激に減少させる効果も確認されている。

参考までに

GDP（Gross Domestic Product）＝「国内」総生産。GNP（Gross National Product）＝「国民」総生産。1993SNAの導入に伴い、GNPの概念はなくなり、同様の概念として「GNI（Gross National Income）＝国民総所得」が新たに導入された。

GDPは国内で一定期間内に生産されたモノやサービスの付加価値の合計額。 「国内」のため、日本企業が海外支店等で生産したモノやサービスの付加価値は含まない。

一方GNPは「国民」のため、国内に限らず、日本企業の海外支店等の所得も含んでいる。

以前は日本の景気を測る指標として、主としてGNPが用いられていたが、現在は国内の景気をより正確に反映する指標としてGDPが重視されている。

そして

前提として、公人、有名人、俳優、著名人は知名度と言う概念での優越的地位の乱用を防止するため徹底追跡可能にしておくこと。

その後、西洋占星術でいう風の時代が到来。

２０２０年から新型コロナウイルスのパンデミック。

２０２２年から続いて、ロシアのウクライナ侵攻。

２０２３年では、幼稚ではあるが人工的な神のような回答するチャットGPTが登場。

「エピソード7意識のマップの数値と人工知能を訓練する計算回数が相似？」でも指摘しているように

兆候が顕在化してきています。

エピソード7の意識のマップでも、表示しているように、人工の神を創造するともなれば、その最初のステップで一神教が言うような全知全能の神ではなく

カイヨワも言い一神教も言うようなあらゆる悪魔が顕現するような可能性も否定できません。

よく一神教で登場すると言われるパンドラの箱の話に似ています。

ニックボストロムが言う「黒い玉」「死の玉」のことかもしれません。

Before 2022, this would not have been possible, but with Apple, Google, and Microsoft agreeing to expand the use of “passkey,” a passwordless authentication system…

２０２２年以前では、不可能だったが、Apple・Google・Microsoftがパスワードな しの認証システム「パスキー」の利用拡大に合意したことで・・・

…on the basis of high security and a high degree of privacy as well…

高いセキュリティと高度なプライバシーも基本にして・・・

…and if, as Ivan Pupilev says, all everyday objects have gesture interface capabilities…

イワン・プピレフの言うように日常的な物すべてにジェスチャーインターフェース機能を搭載していれば・・・

By integrating them with a common smart home standard, “Matter,” and making it possible to automatically connect to them by simply approaching them, assuming permission and authentication…

スマートホーム共通規格「Matter」で統合して近づけるだけで本人の許可、認証を前提とし自動接続できるようにすることで

It may be possible to customize even simple functions as complex functions by combining various devices in a stand-alone manner.

単体では、単純な機能でもさまざまな機器を組み合わせることで複雑な機能としてカスタマイズできるようにできるかもしれない。

In the past, OpenDoc, a technology developed by Apple to realize compound document and document-centered operation, was available.

かつて、OpenDoc（オープンドック）は、Appleが開発したコンパウンド・ドキュメントとドキュメント中心の操作実現する技術があったが

Can we extend this technology to shift from a document-centric to a gesture-centric interface?

これを拡張して、ドキュメント中心からジェスチャーインターフェース中心にできないだろうか？

If you want to work on a larger screen from your smartphone, iPhone, or iPad with a user interface by wearing the Oculus Dash or HoloLens from Oculus Quest

Oculus QuestにあるOculus DashやHoloLensなどを身につけることでユーザーインタフェースをスマートフォン、iPhone、iPadからもっと大きい画面で作業したい場合

It was usual to use a computer with a large screen, but now it is possible to use a huge screen! However, there were limits to the amount of money and placement of the display.

大画面のパソコンでというのが、普通でしたが、もっと、巨大な画面で！！という場合はディスプレイの金額的、配置場所にも限界がありました。

Virtual reality as the future of the holographic age, Virtual reality Virtual reality OS and its extension to the gesture interface center.

ホログラム時代の未来にあるものとして、Virtual reality バーチャルリアリティのOSとジェスチャーインターフェース中心への拡張

Seamlessly linked together, there will be no spatial limits, and you’ll be able to work in a small room with any number of huge, large screens that you can place anywhere in 360 degrees!

シームレスに連携させることで、空間的に限界は無くなり、小さな部屋でいくらでも巨大な大画面で３６０度どこにでも置いて作業できるようになります！！

For example, even if it is not possible to display 3D without wearing glasses like the gesture interface in the sci-fi movie “Iron Man”…

例えば、SF映画「アイアンマン」に出てくるジェスチャーインターフェイスのようにメガネをかけずに立体表示させるとまではいかないまでも

It may be possible to “make it look realistic by wearing special glasses” such as Oculus Dash and HoloLens in Oculus Quest, so…

Oculus QuestにあるOculus DashやHoloLensなど「特殊なメガネをかけることでリアルに見せる」ことはできそうなので・・・

It would be fun to display the setting panel of a simple function device that you touch through the special glasses as if it pops up from inside the device in CG in a hologram format (image: Genie Effect on Mac)

特殊なメガネを通して、触った単純な機能の機器の設定パネルをホログラム形式でCGで機器の中からポップアップするように表示してくれると楽しそう（イメージは、Macのジニーエフェクト）

警察比例の原則。

警察比例の原則。

警察比例の原則。

最近２０２３年から始まったジェネレーティブ人工知能の流行によって

ジェネレーティブ人工知能で作られたメディア（画像・映像など）が人々の目に触れる際には、情報源を開示するよう求めている（オープンAIなど10社が自主ガイドラインに署名した）

ヘンリー・マークラムの研究で脳のイメージが数値化されたデータから・・・

この膨大なデータをディープラーニングを搭載したジェネレーティブ人工知能に候補を複数映像化させる

こうすることでストーカーしかできない人工知能の問題を解消できる？かもしれない

憲法第19条にもあるように「内心の自由」正確に特定しないようにして

権力者の頭脳の中身をリアルタイムに複数映像化したことをチャットGPTに説明してもらう。

これは三つしかない内のひとつ。リカレント・ニューラル・ネットワークを使います。

この権力者の頭脳の中身をリアルタイムに映像化したことをニティシュ・パドマナバンの老眼鏡を含めた未来の自動オートフォーカス搭載メガネなどを用いて

特殊なメガネを通して、ホログラム形式でCGからポップアップ表示できる可能性もありそうです。

しかし

機械学習ディープラーニング物体検出データベースのことを「Darknet」と呼んでいます。

フェイフェイ・リー構築した機械学習ディープラーニング画像データベースのことを「ImageNet」と呼んでいます。

他には、今のところ、リカレント・ニューラルネット（RNN）フレームワークなど・・・

たった三つしかないのが２０２２年の現状です。

チャットGPTは、大規模言語モデル。

懸念されることとして、アメリカ政府が諜報に使用するエシュロンやPRISMに近い可能性もある。

Google検索データは、広告に使われるが、オープンAIはMicrosoftと資本提携で入力データが何に使用されるか？

これを明示していないという危険性がある可能性があります。

続いて

Could it be that Apple is developing its own search engine to compete with Google, which has reinvented semantic web search based on chat GPT and entered the market?

Appleが独自の検索エンジンを開発しているのは、もしかしてチャットGPTを基盤にしてセマンティックウェブ検索を再発明し参入Googleに対抗するため？

In the past, Linux made the OS open source and extinguished Microsoft’s monopolistic Wintel-closed dominance.

かつて、LinuxはOSをオープンソース化してMicrosoftの独占的なウィンテルクローズの優位性を消滅させた。

In 2023, AMD and Apple Silicon are in the midst of blowing the wind out of the last Intel monopoly from the consumer market sector.

AMDとAppleシリコンが、最後のIntelの独占体制にコンシュマー市場分野から風穴を開けている最中の2023年。

Google has opened up the search engine market for a new industry by putting all of its machine learning research results to work to break Microsoft’s Internet Explorer monopoly.

Googleは、機械学習の研究成果をすべてぶちこみ新産業の検索エンジンの市場を切り開いてMicrosoftのインターネットエクスプローラの独占的な体制に風穴を開けた。

And now, right now, open-source AI is taking over Google’s monopoly on the search engine market with chat GPTs. It may be about to wind down with the reinvention of the semantic search engine proposed by Tim Berners-Lee.

そして、今まさにオープンソースAIが、チャットGPTでGoogleの独占している検索エンジン市場をティム・バーナーズ・リーが提唱したセマンティック検索エンジンという再発明で風穴を開けようとしているのかもしれません。

Is Twitter, which Eron Musk went to the trouble of investing a huge amount of money to acquire, comparable to Google and Facebook in terms of data accumulation?

イーロンマスクがわざわざ巨額の資金を投じてまで買収したTwitterもデータの蓄積から見るとGoogle、Facebookに匹敵している？

Is it possible that Eron Musk, a founding member of Open AI, is trying to reinvent Twitter based on chat GPT?

これを立ち上げてるオープンAI設立メンバーのイーロンマスクは、可能性を見越していてチャットGPTを基盤にTwitterを再発明しようとしている？

Open AI, a San Francisco-based nonprofit organization, is dedicated to being the first to develop a “general-purpose artificial intelligence” (AGI) with human learning and reasoning capabilities, so that all people can benefit from it.

サンフランシスコを拠点とする非営利団体のオープンAIは、人間の学習能力と推論能力を持つ「汎用人工知能（AGI）」を最初に開発し、すべての人にその恩恵が及ぶようにすることを目的として設立されています。

Deep Mind,“ which has similar goals, is building a system similar to the chat GPT.

同様の目的を掲げてる「ディープマインド」もチャットGPTと同じようなシステムを構築しています。

As for other derivative…

他の派生的なこととして・・・

As for the use of deep fakes, if they are built into the algorithm for all surveillance cameras, they can be removed only with the person’s permission.

ディープフェイクの活用としては、すべての監視カメラ用のアルゴリズムに組み込んでおけば、外すには本人の許可を得てからにすることもできる。

This would also deter voyeurism by the mass media and police who would abuse the system without the person’s permission.

こうすれば本人の許可なく悪用するマスメディアや警察の覗き見行為も抑止できる。

To temporarily deter misuse, a comprehensive mechanism could be created to protect videos with NFT and a two-factor authentication passkey, and to confirm one by one whether or not the user has permission to disseminate the videos.

一時的な悪用抑止には、NFTと二要素認証によるパスキーで動画を保護し拡散の許可の有無を一つ一つ

If a comprehensive mechanism can be created to confirm whether or not the user has permission to spread the video, it may be possible to create time for the spread of quantum encryption and the commercialization of quantum computers.

本人に確認できるような総合的な仕組みを創れば、量子暗号化や量子コンピューター商用化普及までの時間をつくれるかもしれない。

Released in November 2022. Almost a few months later. A search engine like this appeared.

2022年11月にリリース。そのほぼ数ヶ月後。こんな検索エンジンが登場しました。

perplexity

この回答がどこの記事から引用されたかも表示されはじめた！数字に対応して引用元が表示される。

Next, why? What if the chat GPT could explain how it might have come to this explanation? Perhaps we are getting closer and closer to an explainable AI?

次は、なぜ？この説明に至ったのかもチャットGPTが説明できたら？もしかして、説明可能なAIにもどんどん近づいてきてる？

In about a few months, this threatening? No, an astounding achievement.

数ヶ月位でこの脅威的な？いや、驚異的な成果。

And the Schrödinger equation?

シュレーディンガー方程式も？

For explanations other than equations, it could be comparable to Wolfram Alpha, which is similar to semantic web search.

数式以外の説明に関しては、セマンティックウェブ検索に近いウルフラムアルファにも匹敵する可能性もある。

そして

チャットGPTの人気と爆発的な成長に乗りMicrosoftが先行してチャットGPT 搭載 Bingをリリースするも登録しないと検索結果は会話調で返ってこない？インターフェイスがわかりずらい。

一方、Googleも億人単位規模ネット情報サービスにも関わらず、わずか一日位で対応すると言う離れ技を繰り出すが、検索エンジンの検索結果は、まだ会話調で返ってこない。

両者共に、まだまだ時間がかかりそうだ。

このチャットGPTタイプの新型検索エンジンperplexityのほうに分はあります。

巨大な権力を持つに至ったGAFAMの検索エンジン開発競争が加速。日本のネット情報サービス人口以上で、その規模が人間の限界を遥かに超えた別次元。

権力者処世術は悪性だが、カントの言うように、権力者を完全リアルタイムで行動を透明化する条件限定なら善性に転化する。

同じ権力者のTV局やマスメディア、行政府、警察は、透明化を高くガラス張りにしないから悪性だけど、GAFAMが最善の手本を示してます。

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[isearchgoood]

In the age of AI art, what can originality look like? | Eileen Isagon Skyers

https://www.ted.com/talks/eileen_isagon_skyers_in_the_age_of_ai_art_what_can_originality_look_like?rss=172BB350-0205&utm_source=dlvr.it&utm_medium=tumblr

[paulsmarj]

In the age of AI art, what can originality look like? | Eileen Isagon Skyers http://dlvr.it/StN7HW

[contemporaryartdaily]

Group Show at Cooper Cole

[pxssagat]

Thank you for your memories.

Bunny Rogers

[cole-lu]

[news] upcoming two-person exhibition at @americanmedium with André Filipek, curated by Eileen Isagon Skyers, opening next Thursday, May 24, 7-9 pm (at American Medium)

[marydbegley]

Screen share as medium

07/03/2020

The past 4 months present a new frame of view - screen sharing. By peering into another user’s desktop, we are seeing through their eyes. The connecting interface (the web of tubes and wires between me and them, the internet) disappears in this viewpoint. The two screens become one, as the space between them is collapsed.

In 2015, Eileen Isagon Skyers’ Vanishing Acts noted the ongoing phenomenon of disappearing interfaces in cultural consciousness. Skyers warns: “We have to question how it is we can actually connect with one another through a space of mythologized, technological immateriality - and how this myth has come to affect subjectivity and individual agency. The space between shared screens has collapsed, but a hard edge - the screen acts not only as a barrier but as a transmitter of information.

--

Screen share also sees the rise of the first-person click as a paradigmatic point of view. There is a unique frustration in losing the intimate agency that is my relationship with my mouse. The digital pointer is a pure extension of the brain, moving at a tiny gesture or a small thought, a micro-flex of muscle, shaping our trajectory through the internet.

The disruptive effect of being presented with images that emulate moving through software, but having no control over the mouse, hints toward anti-environment. The personal computer screen is my own environment, where I can control and optimize every experience to my personal desires. Screen share causes a jolt, like a McLuhanesque fish out of water, of anti-environment due to loss of control. 

--

Screen share represents a protracted state of interpassivity on the internet. The extension of WYSIWYG computing is responding to the Twitter bird’s incessant questioning “What’s happening?” while being served ads, on multiple screens at once, that seemingly track your every thought (or listen through smart devices).

Skyers references Marshall McLuhan in her requiem for the interface, writing “The interface remains elusive because it is so difficult to determine its anti-environment...the lack of an anti-environment removes the interface from view, leading the user to regard it, correctly, as something largely beyond comprehension.” Screen sharing presents not exactly an anti-environment, but some hint toward comprehension of a larger organizational power structure. The power differential of screen share is apparent in the agency of the mouse.

Eileen Isagon Skyers - 2015 - Vanishing Acts

[nofomoartworld]

Hyperallergic: Art Movements

Troy Richards and Knut Hybinette, “the seeing glass” (2017), VR simulation, 5 minutes (courtesy the artists, © Troy Richards and Knut Hybinette)

Art Movements is a weekly collection of news, developments, and stirrings in the art world. Subscribe to receive these posts as a weekly newsletter.

The National Endowment for the Humanities announced that it will award up to $1 million in emergency funds for cultural institutions impacted by Hurricane Harvey. The storm has displaced thousands of people and has so-far claimed more than 30 lives. Houston’s theater district was particularly hard-hit, with almost every venue reported to be waterlogged. The Blaffer Art Museum, the Houston Center for Photography, the Menil Collection, and the Museum of Fine Arts Houston have reported their facilities and collections as safe. The Rockport Center for the Arts suffered severe damage according to an announcement by its executive director Luis Purón.

The Los Angeles City Council voted 14-1 to replace Columbus Day with Indigenous People’s Day.

William Eggleston will release Musik, an album of his synthesizer compositions, on October 20.

The Delaware Art Museum unveiled “the seeing glass,” a virtual reality experience created by artists Troy Richards and Knut Hybinette. The work is described as a three-dimensional reimagining of Dante Gabriel Rossetti’s 1875 painting “La Bella Mano.”

Thirty-two-year-old Curtis Valentine died following an altercation at the Head Too Heavy Gallery in Bushwick last weekend. Anyone with information can contact the NYPD confidentially by calling (800) 577-TIPS.

A new statue of Martin Luther King Jr. will be unveiled outside the Georgia State Capitol in Atlanta on Monday. Designed by Martin Dawe, the King sculpture joins nearby memorials to Confederate general and alleged Ku Klux Klan leader John Brown Gordon, and US Senator Richard Russell, a staunch opponent of Civil Rights legislation and a supporter of racial segregation.

Benjamin Grajeda Regalado, the head of Mexico’s federal police, announced the creation of a task force committed to the protection of the country’s cultural heritage.

The Berkshire Museum declined an offer of $1 million from a group of anonymous donors calling for the suspension of a planned auction of 40 works from the museum’s collection at Sotheby’s. The museum controversially decided to deaccession the works, including two paintings donated directly by Norman Rockwell, last month.

(via ozmarecords.com)

The Voyager golden record was published on vinyl and made available for order online. The original gold-plated copper records were attached to NASA’s Voyager 1 and 2, and contain a selection of photographs, music, and sounds “intended to communicate a story of our world to extraterrestrials.” The mission status of the two probes can be accessed here.

Trevor Paglen and the The Nevada Museum Of Art launched a crowdfunding campaign for the Orbital Reflector, a mylar balloon sculpture that will orbit Earth for several weeks before burning up upon re-entry into the atmosphere.

The Washington Square Association — a Greenwich Village neighborhood group — voiced objections to Good Fences Make Good Good Neighbors, a collaboration between Ai Weiwei and the Public Art Fund. The project involves the installation of over 300 site-specific security fences across New York City.

Demolition began on Robin Hood Gardens, the renowned Brutalist estate designed by Alison and Peter Smithson, despite years of campaigning and heritage efforts.

The University of Manchester digitized a collection of over 150 letters by mathematician and codebreaker Alan Turing. The documents were recently re-discovered by Professor Jim Miles during an inspection of an old filing cabinet on campus.

In accordance with his wishes, Terry Pratchett’s hard drives were destroyed by a steamroller at the Great Dorset Steam Fair. The late novelist instructed his estate to destroy all traces of his unfinished work.

Transactions

Dread Scott, “A Man Was Lynched by Police Yesterday” (2015), nylon, 84 x 52 1/2 in, hangs outside Jack Shainman Gallery on West 20th Street in Chelsea, Manhattan (image © Dread Scott, courtesy of the artist and Jack Shainman Gallery, New York)

Dread Scott’s “A Man Was Lynched by Police Yesterday” (2015) was acquired by the Museum of Contemporary Art in San Diego. According to ArtNews, the Whitney Museum of American Art is in the process of acquiring an edition of the work.

The Parrish Art Museum acquired the art, archives, and resources of the James and Charlotte Brooks Foundation.

The South Street Seaport Museum received $4.5 million from the City of New York to stabilize and restore the Lightship Ambrose (LV-87).

The Victoria & Albert Museum acquired a sapphire and diamond cornet designed by Prince Albert for Queen Victoria.

The Contemporary Art Museum St. Louis received a $20,000 grant from the Dana Brown Charitable Trust in support of its ArtReach and LEAP Middle School Initiative youth education programs.

The Hirshhorn Museum and Sculpture Garden acquired 11 works by Japanese photographers, including Eikoh Hosoe, Minoru Hirata, Tatsuo Kawaguchi, Miyako Ishiuchi, Kōji Enokura, and Takashi Arai.

Koji Enokura, “Symptom—Lump of Lead to the Sky: Mountain in Nagano (P.W.-No. 47)” (1972), gelatin silver print, 21.7 x 30.2 cm (© Michiyo Enokura; courtesy Taka Ishii Gallery New York)

Transitions

Bo Rothstein resigned as professor of government and public policy at Oxford University’s Blavatnik School of Government. Rothstein resigned after learning that Leonard Blavatnik (for whom the school is named) had also donated funds to Donald Trump’s inauguration. A number of academics signed an open letter in 2015 opposing Blavatnik’s £75 million (~$97 million) donation to the university’s School of Government, insisting that the university “should stop selling its reputation and prestige to Putin’s associates.”

Marek Olszewski, the president of Poland’s national tourist organization, was fired after telling a reporter that he had removed the Auschwitz memorial from the itinerary for foreign journalists’ visits.

The Singapore Art Museum abandoned its search for a new chief executive officer and director.

Jeffrey Herbst resigned as president and chief executive of the Newseum in Washington. The Freedom Forum, the museum’s parent foundation, is reportedly considering an outright sale of the struggling institution.

The Hammer Museum elected three new board members: Linda Janger, Glenn Kaino, and Dean Valentine.

Mary Colleen Heil will step down as president of the Pennsylvania College of Art and Design in June 2018.

George-Ann Tobin plans to retire as the National Gallery of Art’s endowment chief later this Fall.

Tessa Praun was appointed director of the Magasin III Museum and Foundation for Contemporary Art in Stockholm.

Lieven Bertels was appointed director of the Momentary, a planned satellite space of the Crystal Bridges Museum of American Art. Site work is currently scheduled for early 2018.

Claire Shea was appointed deputy director of Para Site.

William L. Coleman was appointed associate curator of American art at the Newark Museum.

The 2018 edition of the 2018 Biennale de Montréal was cancelled due to its deficit of CAD 200,000 (~USD 160,000).

Housing gallery will open at 424 Gates Avenue, Brooklyn — the former space of American Medium gallery. According to Eileen Isagon Skyers, Housing’s creative director, the gallery aims “de-gentrify the space, effectively supporting the practices of black artists and non-black POC.”

Interference Archive will relocate to a new building three blocks away from its present space at 131 8th Street in Gowanus, Brooklyn.

Accolades

Judith Linhares, “Dance II” (2017), oil on linen, 3 1/2 x 25 1/2 in (courtesy the artist and Anglim Gilbert Gallery, San Francisco)

Judith Linhares received the Artists’ Legacy Foundation’s 2017 Artist Award.

The Bessies 2017 awards for Lifetime Achievement in Dance and Outstanding Service to the Field of Dance were awarded to Jawole Willa Jo Zollar and Eva Yaa Asantewaa respectively.

Danielle Dean was appointed Artist-in-Residence for the Cranbrook Academy of Art’s photography department.

Jochen Volz received Independent Curators International’s 2017 Agnes Gund Curatorial Award.

The Underground Museum received the Ellsworth Kelly Award from the Foundation for Contemporary Arts.

The Seattle Art Museum announced the finalists of the 2017 Betty Bowen Award.

Sarah Branch, Kiana Carrington, Linda Diaz, Donnay Edmund, Claire Kim, Alexandria Ryahl, and Alexa Smithwrick were selected for the Downtown Brooklyn Arts Management Fellowship [via email announcement].

Opportunities

Smack Mellon is accepting submissions for its upcoming fall exhibition, UPROOT. The application deadline is September 13, 11:59pm.

Obituaries

(via Flickr/Terror on Tape)

Blanche Blackwell (1912–2017), heiress and lover of Ian Fleming. Supposedly inspired the character of Pussy Galore.

Tobe Hooper (1943–2017), film director. best known for The Texas Chainsaw Massacre (1974).

Howard Kaminsky (1940–2017), publisher.

Fredell Lack (1922–2017), violinist.

Paul Oliver (1927–2017), music and architecture historian.

Bernard Pomerance (1940–2017), playwright.

Alan Root (1937–2017), wildlife filmmaker.

Sue Steward (1946–2017), writer and broadcaster. Expert on Latin and world music.

David Tang (1954–2017), fashion entrepreneur and collector.

Bea Wain (1917–2017), singer.

Agnes Wilcox (unconfirmed–2017), actor and founder of Prison Performing Arts.

Ibrahim Yazdi (1931–2017), Iranian dissident.

The post Art Movements appeared first on Hyperallergic.

from Hyperallergic http://ift.tt/2iM0Z9Q via IFTTT

[micaramel]

Artists: Timothy Yanick Hunter, Eileen Isagon Skyers, Eve Tagny, Qualeasha Wood
, Curtia Wright

Venue: Cooper Cole, Toronto

Exhibition Title: A Complete Change of Form Into A More Beautiful Or Spiritual State

Curated By: Timothy Yanick Hunter

Date: May 10 – June 8, 2019

Click here to view slideshow

Full gallery of images, press release, and link available after the jump.

Images:

Videos:

Eve Tagny, Spring, part of We Weight on the Land – Part 2 – Spring and Legacy, 2019, video installation, 4:37

Eve Tagny, Legacy, part of We Weight on the Land – Part 2 – Spring and Legacy, 2019, video installation, 2:07

Timothy Yanick Hunter, Basic Instructions, 2019, video, acrylic sheet, 5:15

Timothy Yanick Hunter, Something I’ve Been Meaning To Send You, 2019, video, acrylic sheet, 5:25

Images courtesy of Cooper Cole, Toronto

Press Release:

COOPER COLE is pleased to present A Complete Change Of Form Into A More Beautiful Or Spiritual State, a group exhibition curated by Timothy Yanick Hunter. This exhibition continues the gallery’s commitment to offering a platform for emerging curatorial practices. Participating artists include Timothy Yanick Hunter, Eileen Isagon Skyers, Eve Tagny, Qualeasha Wood, and Curtia Wright.

This exhibition is symbolic of the intersection between the digital plane and spiritual practice, both can be characterized by their ephemeral abstractness. A Complete Change Of Form Into A More Beautiful Or Spiritual State investigates varying ideas surrounding identity, memory, and the transformation of self. Together these artists explore the phenomenon of technological convergence – in this case, a phenomenon where transcendental spaces and ritual meet digital space and practice. The term transfiguration is defined as a complete change of form or appearance into a more beautiful or spiritual state. The works in this exhibition navigate ideas within religion, spirituality, digital space, and the internet as technologies of self realization. How do concepts of memory & identity parallel each other? Each artist in A Complete Change Of Form Into A More Beautiful Or Spiritual State identifies a step in this process by questioning the states of being to which we aspire, asking how much control do we have over our states of being, what ways they can be manufactured and manipulated, and what ways do we gain control.

“Convergence is a deep integration of knowledge, tools, and all relevant activities of human activity for a common goal, to allow society to answer new questions to change the respective physical or social ecosystem. Such changes in the respective ecosystem open new trends, pathways, and opportunities in the following divergent phase of the process” – Roco, 2002 [1], Bainbridge and Roco, 2016 [2]

“…The Internet is a place that fosters identity formation and self-authorship in a population that has traditionally been viewed as deficient in Internet use…As discussions on the digital divide transform from focusing on technical access to more societal concerns, the notion of culture and identity becomes more substantial. As the digital divide continues to close, the potential for reducing the “cultural divide” continues to increase” -Hales, 2008, The African Diaspora, Racial Identity, and The Evolving Discourse of the Digital Divide

Timothy Yanick Hunter (b. 1990, Toronto, Canada) is a multidisciplinary artist and curator. After graduating from the University of Toronto in 2015 with a degree in Art History and English, his practice explores varying concepts surrounding digital security, identity – both digital and lived, narratives of hierarchical power-structures and how these ideas intersect with notions of Blackness and the greater African Diaspora. His approach alternates between exploratory and didactic. At times Hunter defines his process as experiments in visual language, where the mediums represent a range of languages and individual works express different stories. His work ranges from painting, sculpture, video, performance and installation. August 2018 Hunter debuted his first curatorial project Terms And Conditions – a group exhibit exploring information technology and the culture of mass surveillance. Currently Hunter is exhibiting overseeing programming at the Whippersnapper Gallery for its 2018-19 season alongside fellow members of Black Artist Union Collective. Timothy Yanick Hunter lives and works in Toronto, Canada.

Eileen Isagon Skyers (b. 1991, Manila, Philippines) holds a BFA from University of South Florida, and a MFA from Pacific Northwest College of Art, USA. Her work has been shown at Williamson Knight, Litman Gallery, Surplus Space, Portland; and Quiad Gallery, William and Nancy Oliver Gallery, Tampa, USA. Skyers’ has curated exhibitions at American Medium, HOUSING, New York; Digital Gallery, Hap Gallery, Portland; and Unit 19, Tampa, USA. Eileen Isagon Skyers lives and works in Brooklyn, USA.

Eve Tagny (b. 1986, Montreal, Canada) holds a BFA in film production/documentary from Concordia University. Her work has been shown at Xpace Cultural Centre, Critical Distance, VTape, Toronto; Never Apart, FOFA Gallery, Montreal, Canada; nGbk, Kleiner Salon, Berlin, Germany; WISHLESS Gallery, Tokyo, Japan; and Two by Two Art Studio, Johannesburg, South Africa and has an upcoming exhibition at Gallery 44, Toronto, Canada. Eve Tagny lives and works in Montreal, Canada.

Qualeasha Wood (b. 1996, Long Branch, USA) holds a BFA in printmaking from the Rhode Island School of Design, Providence, USA. Her work spans from printmaking, textile works, and digital media and suggests realities and narratives surrounding black female bodies as they existed, and currently exist, as well as proposing potential futures in which they may exist. Through creating new narratives of black potential, Wood’s work often creates dialogues across time in different historical contexts and settings. It is not about imagining an alternate reality but proposing a new perspective on an existing narrative that is just as real as the standardized Eurocentric view. She has exhibited at Rhode Island School of Design, Woods Gerry Gallery, RISD Exposé Gallery, and Benson Hall Gallery, Providence; New Image Art, Los Angeles, USA. In fall 2019 Wood will commence a MFA in photography at Cranbrook Academy of Fine Art. Qualeasha Wood lives and works in Providence, USA.

Curtia Wright (b. 1991, Scarborough, Canada) is a multi-disciplinary artist and mural artist. She holds a BFA from OCAD University. Wright’s work concerns the way societies perceptions of bodies, specifically black bodies, have the ability to shape their narratives without consent. Her current works delve into the spiritual and mental wellness of African peoples and the link to mythology and disseminating what ‘fantasy’ is and who it belongs to. She has exhibited at Margin of Eras Gallery, Art Gallery of Ontario, 918 Bathurst, White House Gallery, Younger than Beyonce, Toronto; Art Gallery of Guelph, Guelph, Canada; and Arts Dimensions Gallery, St. Louis, USA. Curtia Wright lives and works in Toronto, Canada.

Link: Group Show at Cooper Cole

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[dorothysantos]

Software for Artists Book: In Poetic Coalition

“This publication is a coalition — it brings together experiences of combined action. With a focus on labor organizing within the arts and tech industries, In Poetic Coalition explores the potential of creating alternative networks of education and challenging the material conditions that prevent us from enacting new realities with dignity and security. When we defy existing models for…

[ceci-nestpas-un-art-blog]

DiMoDA 2.0 at the RISD Museum: A Review

Jason Farago of the New York Times recently published “Virtual Reality Has Arrived in the Art World. Now What?” In the piece, Farago discusses the development virtual reality technology in the art world and its cultural implications. He lists numerous exhibitions featuring virtual reality at major international institutions such as the Dulwich Picture Gallery in London, The Jewish Museum in New York, the Renwick Gallery in Washington D.C., the Museu de Arte Moderna in Rio de Janeiro, and the Robben Island Museum in Cape Town. He writes,

Virtual reality, by contrast, is a medium without limits — a medium that tries to parallel life itself. The wonder I felt when I first put on an Oculus Rift, and lost myself in Mr. Steegman Mangrané’s rain forest or Ms. Rossin’s floating world, is undeniable. Now the challenge is to put virtual reality in the service of something more complex, for it would be a pity if wonder was all we got.[1]

The RISD Museum’s latest exhibition, DiMoDA 2.0: Morphé Presence, takes on the immerging medium of virtual reality in new and challenging ways.

I enter the RISD Museum and begin navigating my way to the third floor. Take the elevator up to the sixth floor, make a left, then a right, then straight back, then take another elevator down to the third floor. The directions are confusing, but manageable. As maze-like as it may be in the midst of construction, the RISD Museum is not uncharted territory. However, when I finally arrive at the third floor, I find myself in dark and disorienting place. A small room with dark grey walls lies to my left as I exit the elevator. I enter the room to find three screens: two horizontal ones on the left wall another vertical on the back wall. The room houses little else. There are two dark wooden stools in front of the screens on the left wall. Below the screens there is a gaming console, a video game controller, and large headset hanging from the wall. On the opposite wall, there are two paragraphs of white wall text that give some context for the exhibition. Dark and intimidating as it may be, this space maintains a level of familiarity it its method of display. Despite its novel subject matter and medium, the artwork is displayed as Alfred Barr intended, an accustomed style to museum-goers worldwide.

However, the similarities to traditional museum experiences stop there. DiMoDA 2.0: Morphé Presence is otherwise in uncharted territory, alien to both viewers and curators alike. Invited curators Eileen Isagon Skyers and Helena Acosta are cognizant of this, and thus are extremely generous in the amount of information they give within the wall text. They explain what each facet of the work entails; the wall text informs participants that,

Miyö Van Stenis’s Miyö’s War Room examines how contemporary video games, social networks, and internet culture sexualize women and girls and pressure men and boys into aggressive roles. Brenna Murphy’s Vectoral~Sentience_Stack offers an optically challenging and meditative visual experience, in which the viewer seems to float in a vibrating optical illusion. Theoklitos Triantafyllidis’s humorous Self Portrait (interior) becomes a claustrophobic tour of the internal workings of the human body. Rosa Menkman’s DCT Syphoning The 64th Interval is a vibrating black and white static topography that depicts an image as it is being rendered through encoding technology. While distinctly different in their visual manifestations and conceptual aims, each of these works intertwines formal and conceptual approaches with emergent technologies, delicately balancing criticality, humor, and experimentation.[2]

Despite the curator’s generosity with information about the artwork, Morphé Presence remains an extremely challenging exhibition for participants to grasp. The novelty of the medium as well as the work’s propensity towards confusion result in an enriching, but overall inconclusive experience.

In order to engage with this artwork, participants must don a virtual reality headset and use a video game controller to move around the virtual space. The work begins with the participant standing alone on what appears to be a larger rock floating in a vast and empty outer space. The work instructs the participant to use the left joystick to walk or run across throughout the game. As you walk around the meteor, four additional meteors enter sight, one with a large geometric building with a Neoclassical facade on it, and the others, much farther away, with various indiscernible colorful objects atop them. The human tendency towards curiosity takes over, and you walk towards the building to investigate. You press the X button and leap towards the second meteor, without knowing whether you will land there. After a safe landing, you make your way towards the building and enter through the front façade’s columns. Inside, the ceiling and walls radiate with the light of stained glass. Blues, greens, and purples reflect through the windows and throughout the structure, a striking digital melding of ancient and contemporary architectural styles.

This initial stage of the work is primarily used to orient the participant to the medium. Free to walk around the meteor without obstacles, the participant can explore and take their time to get their virtual footing with the video game controller and watch the 360 degrees of this new world expand around them. The starry sky of outer space provides a striking, but easy to render, visual experience for the participant. The setting of outer space also draws a parallel to the sense of uncertainty with this new medium of virtual reality. Each exciting and liberating, but our understanding of it is still in its infancy. We have no way of knowing how vast the opportunities of outer space are, nor are we privy to the potential prospects for virtual reality technologies. We have little foundation for interacting with either scenario.  

Inside the building is mostly open space with rocky outcroppings, however in the center there are four large rock or geode-like structures that glow with blue light. When approached, shimmering boulders begin loading another part of this virtual universe. Miyo, Rosa, Brenna, and Theo, the titles given to each rock, transport you to one of the far-off boulders and thus into a different world. Named after their respective artists, the different worlds have unique imageries and concepts that they address.

Although some of the worlds seem to address a similar state of confusion, others speak to more definitive topics. Perhaps a bit unexpectedly, there is not one discernable unifying concept throughout each world. As a participant, this makes Morphé Presence extremely bewildering. While moving from world to world, there is an expectation of a narrative or at least a central motif. However, this is certainly not the case and results in an intense sense of confusion and even eventual boredom. Additionally, the experience of wearing the virtual reality headset can induce mild to severe nausea, further off-putting the viewer and increasing their overall confusion and discomfort with this new medium.

The lack of a unifying theme throughout the work indicates that Morphé Presence is more of a virtual museum for a handful of artists rather than a single art object all on its own. This is reinforced in the fact that in order to leave one world and enter another, the work instructs the participant to “Go back to the lobby,” as opposed to the “main menu.” This is where the work becomes an art object instead of a video game. The work’s use of the word “lobby” implicates a formal museum setting and insists on its relationship to the physical world. In a video game, however, the “main menu” does not attempt to imply a relationship to the player’s everyday reality. The “main menu” is a digital space, while the “lobby” is a physical one.

After entering all four worlds, there is not much else to do other than take off the headset, put down the controller, exit the exhibition and recede back into normal life. Although there is no one story that the artwork follows it creates an experience of its own that cannot be easily forgotten. The experience of leaving the virtual reality is comparable only to something in between waking up from a dream, and stepping back onto Earth after being on the moon. This exhibition is without question an object of art and should be regarded as such, however it should also be considered for its experiential value.

Virtual reality is valuable not because it is a tool to escape our own reality, rather, it provides us with a basis of comparison. What is different about these various realities? What is alike? What do we want to change? What do we want to keep? And how do the answers to these questions make us feel?

Art in its highest form is an experience for the mind, the body, and the soul. DiMoDA 2.0: Morphé Presence allows the viewer to experience just that. Although the exhibition is overall more confusing than educational or inspirational, it nevertheless provides participants with an introduction to the increasingly prominent medium of virtual reality.

Sources:

[1] Farago, Jason. "Virtual Reality Has Arrived in the Art World. Now What?" New York Times, February 3, 2017, accessed February 5, 2017.

[2] Eileen Isagon Skyers and Helena Acosta, “DiMoDA 2.0: Morphé Presence” RISD Museum, January 6, 2017, accessed February 2, 2017.

[natalie-escobar]

no-place at Gallery Protocol

I will have a painting up in a group show at Gallery Protocol in Gainesville, Florida on Feb 24!

http://galleryprotocol.com/

no-place Curated by Iris Williamson

Hayley Barker, Alisa Bones, Andrea Brown, Akina Cox, Brooks Dierdorff, Natalie Escobar, Jackie K. Johnson, Angélica Maria Millán Lozano, Jess Perlitz, Nicolas Sassoon + Rick Silva, Eileen Isagon Skyers, Lindsay Preston Zappas

OPENING RECEPTION FRIDAY, FEB. 24, 8-11PM

[amberreedca]

Digital Museum of Digital Art opens at the RISD Museum

DiMoDA, or the Digital Museum of Digital Art, is an ongoing interactive collection, exhibition, and conservation project founded and directed by artists William Robertson and Alfredo Salazar-Caro. This exhibition was organized by invited curators Eileen Isagon Skyers and Helena Acosta. DiMoDA 2.0: Morphḗ Presence, presents recent works by Miy� Van … from International Live News http://internationalnewslive.com/digital-museum-of-digital-art-opens-at-the-risd-museum/

from International News Live http://intlnewslive.tumblr.com/post/155575615587

[marykramer1]

Digital Museum of Digital Art opens at the RISD Museum

DiMoDA, or the Digital Museum of Digital Art, is an ongoing interactive collection, exhibition, and conservation project founded and directed by artists William Robertson and Alfredo Salazar-Caro. This exhibition was organized by invited curators Eileen Isagon Skyers and Helena Acosta. DiMoDA 2.0: Morphḗ Presence, presents recent works by Miy� Van … from International Live News http://internationalnewslive.com/digital-museum-of-digital-art-opens-at-the-risd-museum/

from International News Live http://internationalnewslive1.tumblr.com/post/155575544864

[cole-lu]

exhibition continues, gallery opens Thu - Sat, 11am - 6pm ​or by appointment. Thoroughbred (no caster of weather foretold), 2018 Concrete - from While Removing the Garbage or Paying the Cleaner with André Filipek, curated by Eileen Isagon Skyers (at American Medium)