#gfp bunny

[mousey-toy]

wow one of the movies ive really been wanting to see but cant find a download for anywhere is screening at some dutch film festival at the end of the month... im rly hoping its a digital film festival so i can 1. watch it and 2. rip it to upload online

[minimaeclectica]

Eduardo Kac - GFP Bunny (2000)

[alivehouse]

ok i know literally no one cares about this but the artist who made alba the gfp bunny updated his cira 2002 relic of a website explaining the project and it just looks like a normal modern boring ass website now i want 2 cry

[tulipfromtheinternet]

Someone make a gfp bunny but a bear! that’d be so cool

[alporquia]

Eduardo Kac, Tour à tour et parfois en même temps. Watercolor pencil on watercolor paper, 16 x 20" (40.6 X 50.8 cm)

[genkinahito]

Genkina hito's Top Fourteen Films of 2020

Genkina hito's Top Fourteen Films of 2020(!) featuring releases from @thirdwindow, @toyodatoshiaki, @shin_adachi_, @hirabber, @fukada80, @Gener80, @oaffpress, @tsukamoto_shiny, @anshul_san, @kamataprelude

Wow, I had no idea that 2020 would turn out like this when I wrote last year’s end post. We’re a few days away from the end of what has been a plague year. I almost got caught out at the start when I was in Japan and the borders were going to be closed, back at the end of March, but I escaped with the help of some friends. Since then, I have been in work on reduced duties or at home waiting to be…

[alltingfinns]

For the July celebration of Sherlock’s Ten Year Jubilee I am continuing what I was already doing the rewatch:

“Look at you and John.” Superquickly “What about us?”

The theme of this episode is John and Sherlock being defensive about their relationship.

(Okay that is John’s theme in general, but Sherlock isn’t usually.)

Wait, did Henry and Sherlock just decide to ignore that John went off on his own? Both of them?

They do play with some classic horror staples like the scary sound with an innocent origin and jump scares.

Ohh, that sideways glance at John as he dismisses the hound, not realizing that Sherlock lied when he said he didn’t see it.

The way the scene is filmed whenever there’s a closeup of Sherlock with John in the picture almost looks like they are separated and then superimposed. Sherlock’s doubts are separating them.

Spock as a Vulcan was not free from feelings but rather constantly keeping them under check. He also claimed to be quoting an ancestor when saying that “whatever remains” quote, so a descendent of Doyle? SH is canonically fictional in the ST universe.

Getting sidetracked.

John had much better patient relation with Henry. Why did he think repeating Sherlock’s name was going to help?

John looks pissed.

“Look for the dog/woman” (I am not even attempting to write out the French) classic crime novel theme with a canine twist. Usually it’s about looking for motive though.

A bit silly that they don’t notice the man who screamed “NOTHING WRONG!” pointing at them just a minute later.

Still don’t get quite why John is so pissed before Sherlock tells him to leave him alone. Sherlock is upset and not handling it well but John takes it personally?

Maybe the emotion got to him too?

For the first time I saw “diana” in Henry’s flashback. His memory is clearing up.

All those other guys, just looky-loos? Except they came in their cars which isn’t the most discreet peeping tool out in the moor, so are they waiting their turn?

Sherlock knows John’s type but still doesn’t realize that he belongs to it.

Henry’s like “I knew I shouldn’t have gotten the ironic cable package”

“Only a nutter if you’re wrong”

Aww, even when things are rough John is more concerned with Sherlock than the case. His music even chimes in.

But here comes the party crasher.

Frankland is almost too obvious with that sabotage.

Omg! The Netflix subtitle referred to them as “sambo”! A serious couple who live together! It’s like whoever’s translating this thought there’s no point in being subtle about the “live-in PA” implications.

Yeah, no, John. Frankland may have fooled you with his schtick but he clearly knows who Henry’s therapist (and other weak points) is.

And then not at all subtly implicating Stapleton. I think someone went to the same deflecting-guilt coach as the president!

Look on the bright side John, for once the girl thought you had a thing for a guy that wasn’t Sherlock.

He really likes standing on that cliff. (When you are tall but still want to be tall.)

“Oh look you’ve got damp” is about my level of small talk.

Act eccentric enough and you can sneak out some sugar without raising questions.

Between Sherlock standing dramatically in high places and spotting John looking concerned in a cemetery...

UMQRA didn’t lead anywhere but sex.

A serious discussion about their friendship and Sherlock’s humanity in a cemetery...

Sherlock technically doesn’t insult John, he just calls him not a genius. Still doesn’t mean that John is average (or less) in intellect.

Sherlock, dear Sherlock. It really seemed more plausible to you that John was in on some Mycroft conspiracy to call Lestrade Greg, than the possibility that it is his given name?

I’m assuming this is where the mystrade ship set sail since it’s the first real connection of any kind between the characters.

Not your handler.

And again John shows his cleverness with appreciation from Sherlock.

The tenderness in “you don’t have to keep apologizing”.

Oh poor John. If you don’t take sugar in your coffee it can taste outright nasty when it’s added, especially if there’s no milk. But Sherlock just pouts the slightest bit and John weakens.

The Sherlock mirror was going to put the dog down but couldn’t.

I don’t get the denial about Sherlock being autistic when they have John mention aspergers. Of course the stigma is so strong you have plenty of people saying aspergers isn’t autism at all, which is sort of like saying hay fever isn’t pollen allergy.

It’s plot convenient that they go to Baskerville but is it just for the literally lab condition? He does analyze the sugar there.

John smiles a bit at “could be dangerous”. At this point that sentence should be engraved in their wedding rings.

I wonder what he promised Mycroft in return. “No fat jokes for a week.” “A year.” “Fine.”

You really feel for Henry.

The aerosol is dispersed in a room with the warning “Keep out! Unless you want a cold.” COVID-19 premonitions in my 2012 episode of Sherlock?

Also, how many others were unwitting test subjects?

Clearly light sensitivity is a symptom. Obviously didn’t come up in Dewer’s Hollow.

John trying to call Sherlock with the John music, ahh.

There’s almost no time between “can you see it” and Sherlock’s appearance so he must have been close by.

Sherlock has at least the morsel of decency to look guilty when John says he was wrong.

Why is everything about the bunny the absolute funniest thing?

A jellyfish!

Also Sherlock sneaking glances at John while doing lab work...

I had to look up Aequorea Victoria because I almost thought they picked it for the Victorian reference, but it is best known as a source for GFP (green fluorescent protein). They did their homework.

It may be a bit silly, but I really like the mind palace sequence.

It only works because Sherlock at some point read about CIA classified projects. I feel this is an untapped bit of his background. How much work has he done for his brother?

He figures out that Barrymore feel such a familiarity with Tatcher that he would refer to her by Maggie.

Aerosol Dispersal, how is that not what you focus on, Sherlock?

People make fun of the “top secret sweaters” but 1) people print sweaters for the silliest reasons and 2) it probably started out as a team name thing for the scientists involved before things went haywire and the project shut down. The project H.O.U.N.D. may have been a collective team name that ended up attached to the disaster. They made those sweaters thinking they were going to do a lot of other projects which they presumably didn’t.

Goddammit, Sherlock! You know a mind altering fear drug is around and you tell Lestrade to bring a gun? All John said was that Henry attacked her, although I guess he heard Louise saying gun.

There was a lot that I had no further comment on.

“Why not kill me?” “Because he needed to discredit you.”

:|

Don’t know if I’d look so relieved by the idea of dying from an explosion. But it does look like he’d rather die than face it, and he may have been tired from the secret keeping and the conspiracy upon conspiracy.

Sherlock did see why they didn’t put the dog down, but this episode in general enforces the “playing Sherlock Holmes” for John’s benefit. It’s possible that his main takeaway from their fight was that John doesn’t like him having feelings.

Ahh, I see. I guessed John figured out that Sherlock “drugged” him back when he was angry about sugar. The realization now is that Sherlock locked him in the lab.

It’s so mean and so funny. I feel bad for laughing and yet I do.

Okay here he calls John average.

John wants him to admit being wrong but Sherlock fears that he will lose John’s interest then. “Won’t happen again.”

Poop jokes! Kind of feel that was specifically to take advantage of the “go see a man about a dog”.

Wonder what’s on Moriarty’s mind?

[leticiakamada]

Inspiração | Eduardo Kac

[xihaozhengexhibitionroposal]

Week#5 Exhibition Proposal

                                               “Moist Media” 

“Moist Media” As early as the 20th century, in many art practices, cybernetics has become an effective theoretical tool related to intelligence and aesthetics. It has made people realize that the organic system and artificial computer system in nature can theoretically control and Understanding the level of communication, both are also interactive networks. Over the past several decades, artists became more interested in the life system. They turned their attention to the wet natural system and life system and began to use living biological organizations to create artworks. This series of practices led to natural systems and computer systems. Combined with each other. Roy Ascot, therefore, coined the concept of “moist media", a medium in which a computer's dry silicon media and bioengineered wet molecular media are combined. This type of wet media practice also reflects a trend in which artists move from nature to nature, embrace nature, and combine natural and computer systems. Rather than Digital media art or Bio art, The moist media says that life is not limited to form, but more concerned with life behaviour and it makes technology really involved in the natural body. This organic and inorganic, moist area between the body and the world is a new space of perception.

The difference between life and non-life is molecular organization, life is a form that never stopped evolution and moving to the state of post-life. Recently,  Studying the behaviour of life through digital media, using artificial materials to simulate the perception of living things, these are actually a good combination of biological systems (the behaviour of life) and computer systems (as a medium). In some moist  media works, the absence of biological media is to direct our attention to biology from biomass (cells, proteins) to life process (behaviour), and the emergence of moist media has accelerated "biological" to " Post-biological.” which shows we are close to the next stage that simulating consciousness by technology. Just as digital technology forced us to discuss issues such as personal identity, self-definition, and network relationships in the virtual world, "moist media" once again puts us faced the problem. When our consciousness can link all things in nature and can reach anywhere, while artificial life, artificial nature begins to emerge, how should we examine ourselves and examine our relationship with our surroundings?

Keywords:    Moist     Gene art      Biological process      Synthetic life.

————————

Stelarc(born in 1946)      

#1 Ear On Arm

The project over the last 12 years has unfolded in several ways. The EXTRA EAR was first imaged as an ear on the side of the head. THE 1/4 SCALE EAR involved growing small replicas of my ear using living cells. And recently, THE EAR ON ARM which began the surgical construction of a full-sized ear on my forearm, one that would transmit the sounds it hears. These are prosthetic objects that augment the body's architecture, engineering extended operational systems of bodies and bits of bodies, spatially separated but electronically connected. Having constructed a Third Hand (actuated by EMG signals) and a Virtual Arm (driven by sensor gloves), there was a desire to engineer an additional ear (that would be speak to the person who came close to it).

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Marta de Menezes

#1 Immortality For Two

Immortality for two the author and her collaborator (her partner) will immortalize each other immune cells. This will be achieved by introducing cancer-inducing genes in the cells with a viral vector. The immortal cells, although derived from two people in love, as they derive from immune cells involved in the body defence cannot interact or they will be mutually rejected. Thus, immortality comes at a price – and that price is perpetual isolation. The live cells will be exhibited in the absence of any visible lab equipment, and the tension created by their isolation will be emphasized through two live projections of the growing cells that partially overlap. Only in the virtual space of their projection the immortal cells can interact.

#2 Inner Cloud

Inner Cloud consists of her own DNA, precipitated in an ethanol-containing tube, forming a structure similar to a cloud. when DNA is isolated from tissues, the DNA molecules precipitate forming a cloud-like structure, floating in ethanol. It is conceptually interesting to note that at that point DNA molecules can be directly seen with the naked eye.

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Heather Dewey-Hagborg

#1Spirit Molecule 

Spirit Molecule is a series of experiments that imagine a future of biotechnologized mourning as we engineer a lost loved one’s DNA into a psychoactive plant that is then consumed in a final journey of intimacy with the other. Spirit Molecule centers on the story of one such individual and consists of a greenhouse of legal plants with psychoactive properties, and an accompanying four-channel video which tells a narrative of love, loss, and bioengineering as a process of grieving.

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Eduardo Kac

#1 Genesis

Genesis is a transgenic artwork that explores the intricate relationship between biology, belief systems, information technology, dialogical interaction, ethics, and the Internet. The key element of the work is an "artist's gene", a synthetic gene that was created by Kac by Translating a sentence from the biblical book of Genesis into Morse Code, and converting the Morse Code into DNA base pairs according to a conversion principle specially developed by the artist for this work.  The Genesis gene was incorporated into bacteria, which We are shown in the gallery. Participants on the Web could turn on an ultraviolet light in the gallery, causing real, biological mutations in the bacteria.

#2 GFP Bunny

。。。。。

[nunolourencoateoriadomundo]

“Boundless objects”: sobre o ser e o devir.

Monika Bakke, a curadora da exposição “Boundless objects (objetos sem limites)”, a decorrer na Fundação Eugénio de Almeida até ao final de março, menciona na sua introdução que os objetos não são o que eles são, mas, o seu devir. O problema é que a filosofa ocidental nunca aceitou muito bem a possibilidade do ser não ser fixo. Se tudo na natureza está em constante movimento, mesmo as pedras das montanhas e o interior da terra que a nossa visão não consegue abarcar, o ser, seja ele, vivo ou inanimado, é ser, porque, justamente se desenvolve do confronto com os outros seres. Os seres são algo porque, pertencem a um permanente devir, mesmo quando estão no limbo entre a definição e o prestes a tornar-se outra coisa qualquer. No caso das antigas obras de arte e dos novos objetos artísticos, tendo eles um curto ou já longo passado, são na verdade, toda a sua história de devir até serem pó. A grande diferença é que os novos objetos artísticos da contemporaneidade já assumem a ideia de que o ser é devir, ao contrário, das antigas obras de arte sempre presas à sua origem fundadora.

Começando justamente por essa fronteira entre um ser definido e o tornar-se algo, Nikolaus Gansterer elaborou uma série de desenhos intitulados “Objects yet to Become”. Os doze desenhos constituem uma série de postais com composições a branco sobre um fundo preto de pontos, linhas e vetores, associadas a um pequeno texto poético-filosófico. Por exemplo, do postal número 10 reza o seguinte: “Take a deep breath. What is the backside of the opposite? What is the foreside of the contrary? Enter the backstage of the unknowing to silent applause”[1]. Os três balões-sonda de Ana Rewakowicz levantam a questão da definição do ser na sua relação com o espaço. Estes ocupam certos locais de passagem que são terra de ninguém, como ombreiras de portas e uma janela encostada no pé-direito de uma sala. Andam à procura de uma definição, de um nome que responda às perguntas colocadas pelo observador: “Quem és? /O que és?” As canetas e a acetona do vídeo de Piotr Bosacki, procuram responder à mesma inquietação através do seu movimento frenético, apesar de quando paradas sugerirem uma sublime pintura abstrata amarela: “O que sou eu agora nesta posição em ângulo agudo”, “O que somos nós, neste preciso momento, postas em triângulo pela acetona e sobre este fundo amarelo?”

A tecelagem composta por 100% de basalto, aço inoxidável, prata, poliéster e seda, confere às esculturas de Jennifer Robertson um surpreendente produto de uma estranha transformação. A sua híbrida estrutura de materiais pouco prováveis contrasta com a sua definida aparência lembrando elegantes padrões de tecido esvoaçantes. Em sentido contrário, as esculturas de André Sier, feitas através da impressão em 3D de códigos genéticos, informáticos e biológicos, assumem-se, solidamente, como seres, mas, são em termos de nomenclatura uma quase total indefinição. Não remetem para nada de sugestivo.

No entanto, a prova real da equação ser=transformação surge dos exemplos da própria natureza.  Uma investigação de Ana Leonor Madeira Rodrigues sobre a bactéria caerulea que é passível de se desenvolver a partir do lixo de certos espaços interiores, como por exemplo, os das cozinhas, prova esta equação de uma forma humorística. As representações artísticas destas bactérias passeiam-se pela boca e mãos da artista, como se de animais de estimação se tratasse. A projeção do seu túmulo com a decomposição e o crescimento de animais e plantas, da artista Kathy High; a monitorização artística da cristalização da saliva para detetar o índice de fertilidade feminina, de Renata Rosado; e o registo da metamorfose da larva puparium antes de ser tornar mosca, de Erica Seccombe; fazem da investigação artística do funcionamento da natureza um contraponto com o quanto a filosofia ocidental transformou a ontologia num conjunto de essências monolíticas. Estes trabalhos destroem por completo a afirmação de que a arte não é a representação da vida e que a cultura se opõe à natureza. Essa oposição nunca foi na verdade real, mas sim apenas um episódio das várias análises histórico-filosóficas.

A obra de maior engenho na exposição e que resulta da criação de uma estrutura molecular de uma proteína, trata-se de um inaudito autorretrato da artista Marta de Menezes. Não só a proteína se chama mArta, como a sequência de aminoácidos se assemelha ao nome completo da artista, e não tem qualquer comparativo na natureza. Com a apresentação desta obra constituída por amostras, vídeos e relatórios, voltamos à questão anterior: afinal a arte opõe-se ao mundo natural, não fora esta obra uma autêntica manipulação. Se pensarmos que a natureza é criação, mas, também destruição; que nela todos os seus agentes interferem com o destino dos outros; porque é que então opomos as intervenções do ser humano, também ele um agente da natureza, à harmonia dessa mesma suposta unidade natural? Talvez, o que nos choca nem é tanto o medo de criar aberrações, porque elas sempre andaram por aí, naturais ou criadas pelo ser humano, mas sim, a velocidade com que se apresenta um produto manipulado face às lentas transformações da própria natureza. Desde que existe humanidade, existe manipulação, mas, isso não quer dizer que essa manipulação seja sempre pior que a destruição interna da própria natureza. Sabendo, por exemplo, que pelo menos 45% do território holandês está abaixo do nível do mar, alguém se lembraria de pedir aos holandeses para voltar ao mapa que tinham antes dos diques? Por outro lado, quantos animais morrem engolidos por tsunamis e furacões, sem que disso o ser humano tenha qualquer culpa? A questão não é se a arte e a cultura são em geral intervenções e manipulações opostas à natureza, mas em que medida é que estas são contra ou favor dela. Lembremos, assim, um dos artistas mais polémicos e adeptos da manipulação, Eduardo Kac, que manipulou geneticamente um coelho verde, o projeto “GFP Bunny”: “(…) A arte transgénica … tem que ser feita com muito cuidado, com o reconhecimento dos complexos problemas daí advindos, e, acima de tudo, com o compromisso de respeitar, nutrir e amar a vida assim criada (…)”[2]. Esta é a questão: manipula-se/engendra-se para destruir algo, ou manipula-se/engendra-se para nutrir e amar a própria vida?

A arte mais manipulativa, como a de Marta Menezes ou de Eduardo Kac, não consegue opor-se, a longo prazo, ao poder brutal da natureza, nem a arte mais veneradora dos agentes naturais longe da ação humana, como a de Ana Leonor Madeira Rodrigues ou a de Kathy High, deve acreditar ingenuamente no seu intocável lado pacificador. A arte apenas consegue fazer abrandar ou iludir a impermanência das coisas que parece tanto afetar os seres humanos. A cultura, como parte da natureza humana, só pode querer ambicionar a uma coisa: gerir temporariamente o ciclo de criação e destruição da própria natureza.

A exposição “Boundless objects (objetos sem limites)” não é mais uma exposição para marcar presença, é um exercício de trabalho de campo sobre o ilimitado potencial da vida, enquanto, criação como resultado da transformação.

 Nuno Lourenço

 [1] - “Respira fundo./Qual é a parte de trás do oposto?/Qual é a parte da frente do contrário?/Entra nos bastidores do desconhecimento/Para aplausos silenciosos.” Trad. Fundação Eugénio de Almeida.

[2] - Kac, Eduardo. Telepresence & Bio Art. The University of Michigan press, 2005, Ann Arbor, p.264

Nikolaus Gansterer, “Objects yet to become”, 2016 até ao presente, instalação 12 impressões em papel FineArt, 12 postais para levar.

- Jennifer Robertson, “Crystal Imperfectionsas agentes of deformations”, 2016, obras de arte em tecelagem composta por 100% de basalto, aço inoxidável, prata/poliéster, seda.

- Marta de Menezes, “Proteic portrait”, 2007, instalação: documentação, equipamento de laboratório, proteína.

[carolros]

Conociendo y repasando nuevas tendencias..

10 de Octubre (Clase 6) con Fabián Barros 

Cultura Remix es un concepto que involucra conceptos sociales, industriales, económicos, creativos, éticos y estéticos. En consecuencia, es un concepto Politico, una postura, una línea de pensamiento. El término de Cultura Remix viene efectivamente de la economía política. 

Por ejemplo, los memes, que vienen de la biología. Richard Dawkins, hace una analogía entre el gen y el meme como la unidad mínima de transmisión cultural. Los memes son todas aquellas ideas que prenden y se viralizan rápidamente.  (Para entender este concepto más en profundidad reproducir el video del final del post).

Big data: “Big data o macrodatos es un término que hace referencia a una cantidad de datos tal que supera la capacidad del software convencional para ser capturados, administrados y procesados en un tiempo razonable.” (Wikipedia). Es toda esa cantidad de información que pueden procesar los mega servidores que permiten analizar volúmenes de información sin precedentes. 

La tecnología va creciendo continuamente y sucede que a escala humana ya no se puede procesar la información. Por ello viene surgiendo la Inteligencia artificial. Son algoritmos que aprenden de si mismos. Machine learning, por ejemplo, es una rama de la inteligencia artificial cuyo fin es desarrollar mecanismos que permitan a las computadoras aprender por si solas.

Vaporwave: es una corriente estética que de alguna manera es un revival de la web 1.0. Utiliza estética de VHS, de html1, pero lo maneja de una manera muy contemporánea. Trabaja con fugas, la paleta de colores tan características. 

Brutalismo: es una corriente. Tiene estética Vintage, retro, muy simple, pero con complejidad en programación. Hay una intención de volver a que el diseño tenga el protagonismo. La Web por primera vez comienza a tener nostalgia de si misma. Ha llegado a un punto de maduración que tiene nostalgia. Es como una reivindicación política. No se rige por lo preestablecido,  de donde deben estar los botones, o los colores. Tienen fin de conservar el diseño en si mismo y no regirse por el marketing o donde deberían estar los botones.

Atari fue la primera consola de videojuegos domestica.  Hoy en día tiene un diseño Retrofuturista. NOSTALGIA VINTAGE.

Por qué esta necesidad de volver al pasado y revisitar cosas de otros años? Por aferrarse a algo sólido quizás, más familiar.  Hay una necesidad de volver a sentirse en un hogar, establecer vínclulo con objetos conocidos, algo que sea de uno mismo y no que tengan todos los demás.

Este revival tiene que ver con recuperar algo más emocional, de conexión y salir de eso de tener tantas cosas donde al final, no se tiene ningún vinculo muy cercano con ninguna de ellas. No hay intimidad.  

Las web brutalistas cuestionan mucho lo que es el diseño. El diseño se entrena, es una convención. Estamos entrando en una era en que como diseñadores debemos aprender a trabajar con otros valores y maneras de concebir. No se puede mirar siempre hacia atrás, sino en algún momento hay que dar un paso siguiente.

Bioarte:  Es una corriente artística contemporánea de las más nuevas que trabaja con materia viva. Células, microorganismos, plantas y animales. (Nueva tendencia). 

Ejemplos de esto son Eduardo Kac, artista brasilero quien hizo GFP Bunny, conejo transgénico fluorescente. 

También, Data Garden genera música a través de la obtención de muestras que se extraen del cuerpo humano, o de plantas. Las mismas se digitalizan y parametrizan pudiendo así generar sonidos, música. Los datos pueden convertirse en imágenes o en sonido. http://biotabeats.org/visualization.html

Mundo post-digital: se dice que estamos entrando en la era post digital. No habla de una idea, sino de una actitud. En la post-digital podemos utilizar tecnología obsoleta. Instagram es una plataforma de post fotografía, hay una actitud creativa, ya la disposición de las fotos y los filtros, la edición es más que solo foto. El high tech se combina con el low tech, el craft con tecnología de ultima generación. El siguiente link funciona como ejemplo para mostrar esta revolución por asi llamarla.  CYMATICS- Science Vs. Music. https://www.youtube.com/watch?v=Q3oItpVa9fs

Hacktivismo: acrónimo de hacker y activismo, "la utilización no-violenta de herramientas digitales ilegales o legalmente ambiguas persiguiendo fines políticos”. Tecnochamanismo: corriente dentro del Hacktivismo que es latina, crea puentes entre la tecnología y las tribus ancestrales para recuperar ideas de un futuro mejor perdidas en el pasado. Siempre ha habido una visión muy cerrada de no compartir los datos, proteger la privacidad. Siempre la red ha sido un lugar de activismo, donde se denuncian ciertas practicas (ej. Veganismo, las redes han permitido que esa cultura crezca, poner cosas en la órbita de la opinión pública). Manera de sanear el desastre en el que estamos, el hiperconsumo, etc. Es importante ya que en digital hay pocas corrientes latinas. 

Inteligencia Artificial: Pinturas generadas por inteligencia artificial. No tienen un contenido emocional, eso es muy difícil de clonar. 

“Estamos alimentando algo que no somos capaces de controlar en su totalidad.”

“No one really knows how the most advanced algorithms do what they do. That could be a problem.” MIT Media Lab.

DIY- Makers culture. Arduinos. Construir ahora usando la programación. Biblia para makers, ayuda conectar lo que sea a un Arduino. https://www.xataka.com/makers/abc-basic-connections-una-biblia-para-makers-que-te-ayuda-a-conectar-lo-que-quieras-a-arduino

Robotics TOIO (Sony) es un kit de juguetes para hacer robots con papel. (Video debajo)

[alivehouse]

thinking about alba the gfp bunny again

[genkinahito]

GFP Bunny タリウム少女の毒殺日記 Dir: Yutaka Tsuchiya (2012)

GFP Bunny タリウム少女の毒殺日記 Dir: Yutaka Tsuchiya (2012) @GFPBUNNY

GFP Bunny                                                    タリウム少女の毒殺日記  「GFP Bunny Tariumu shojo no dokusatsu nikki」  Running Time: 82 mins. Release Date: July 06th, 2013 Director: Yutaka Tsuchiya Writer: Yutaka Tsuchiya Starring: Yuka Kuramochi, Makiko Watanabe, Kanji Furutachi, Takahashi, Website    IMDB Not for the faint of heart, GFP Bunny is the third film directed by media activist Yutaka…

[whittysculpture]

Reading Responses

Chapter 4 of Sculpture Now discussed natural and ecological sculptures. Some of the work, like Patricia Piccinini’s, utilizes somewhat standard materials and methods to create bizarre, human/animal forms. Others, like Laura Cinti, genetically or otherwise modify a living organism for an unusual result. Personally, I prefer the former approach, as the latter raises some ethical concerns which, in my opinion, can’t often be justified under the banner of “art for art’s sake.” GFP Bunny is an example of this. The rabbit appears to be unharmed, but how are we to know that there weren’t casualties involved, as the artist worked to make a “perfect” version? Read more here: http://www.ekac.org/bostong.html On a completely different note: this chapter also reminded me of a recently-discovered ecological structure, which I wanted to share. My girlfriend and I visited Mt. Rainier last weekend, and hiked the Skyline trail up to where you could look at some of the glaciers. It was a beautiful trek, and the best part was the stonework bathroom along the way. It was built of stone blocks, and one (or more) sides of it were actually formed by the rock wall of the mountain itself. It was wicked cool and beautifully made.

Chapter 3 of Sculpture Now discussed light and sound. I enjoyed reading about these pieces, especially Pipilotti Rist’s Massachusetts Chandelier. This is a chandelier made out of underwear, of all different styles. All are light, washed-pastel sorts of colors, with a soft, diffused light emanating from behind. It’s a funny exhibit, and I wonder why it’s named after my home state of Massachusetts, which (so far as I know) isn’t especially renowned for lingerie or light fixtures (Puritan work ethic, you know).

[alivehouse]

my favorite stupid bullshit art world story is still the gfp bunny im always sad more ppl dont know abt it