Bruce Sterling and Jon Lebkowsky have just begun their 13th annual "State of the World" conversation on The Well. (2011's State of the World here.)
inkwell.vue.430 : Bruce Sterling and Jon Lebkowsky: State of the World 2012
permalink #6 of 13: Bruce Sterling (bruces) Wed 4 Jan 12 18:06
SOME FRINGE BELIEFS ABOUT FUTURE CHANGES
It's surprising how little vitality these have nowadays. Instead of fanaticallly dedicating themselves to narrow, all-explanatory cults, people just sort of eyeblink at 'em and move on to the next similiar topic. In a true Network Society, all fringe beliefs about the future seem to be more or less equivalent, like Visa, American Express and Mastercard. "Conservatism" conserves nothing; there is no "progression" in which to progress.
Peak Oil. Oil probably "peaked" quite some time ago, but the "peak" itself doesn't seem to bother markets much. The imaginary Armageddon got old-fashioned fast. Peak Oil has peaked.
Islamic Caliphate... With the collapse of so many Arab regimes, these guys are in the condition of dogs that caught a taxi. "Sharia Law" is practically useless for any contemporary purpose, and Arabs never agree about anything except forcing non-Arabs to believe.
Chemtrails. These guys are pitiable loons, but they're interesting harbingers of a future when even scientific illiterates are deathly afraid of the sky. It's interesting that we have cults of people who walk outside and read the sky like a teacup. I've got a soft spot for chemtrail people, they're really just sort of cool, and much more interesting than UFO cultists, who are all basically Christians. Jesus is always the number one Saucer Brother in UFO contactee cults. It's incredible how little imagination the saucer people have.
BitCoin. An ultimate Internet hacker fad. You'd think ...
I Would Rather My Streets is a project by Gui Machiavelli mapping short narratives accessible through QR codes placed throughout Stockholm. It was inspired by Adam Rothstein's essay for Rhizome, City of QR Codes.
Public spaces are treasure troves of countless stories — events, memories and marks. Walking around a city, I am always tempted to know what happened in a certain spot. Look, that tree: did someone scratch his or her name there, decades ago?
I have placed some of my memories created in Stockholm in the same places they were formed. Deposited in QR Codes as a memory layer on top of the world. Small narratives, from commonplace to slightly extravagant, from confessions to puzzling moments, hints of the countless brief experiences that populate our world.
Time to get your applications in for Rhizome's 2012 Commissions cycle! Each year, this program supports emerging artists by providing grants for the creation of significant works of new media art. Projects can be made for the context of the gallery, the public, the web or networked devices. Rhizome Commissions awards generally range from $1,000 to $5,000. Deadline is Sunday, April 15th. Be sure to read over the eligibility, policy and procedures before you begin the application process.
Application Deadline: Sunday April 15, 2012
Approval Voting: Wednesday April 18, 2012 - Saturday May 12, 2012
Rank Voting: Monday May 14, 2012 - Friday June 01, 2012
The Rhizome Commissions program is supported, in part, by funds from Deutsche Bank Americas Foundation, Wieden + Kennedy, the Jerome Foundation, the National Endowment for the Arts, and by public funds from the New York City Department of Cultural Affairs and New York State Council on the Arts. Additional support is provided by generous individuals and Rhizome members.
Check out some of our favorite blogs and tumblrs with a Google Bundle compiled by Rhizome senior editor Joanne McNeil: Rhizome Recommends.
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Clement Valla and John Cayley's Hapax Phaenomena is featured this month on The Download.
Certificate of Authenticity, Hapax Phaenomena (2011)
In Hapax Phaenomena and other projects such as Google Earth Sites, you refer to your art objects as artifacts or curios. Do you see yourself as an observer documenting an endangered technological curiosity?
Yes. These things will all disappear, and probably soon, in the name of progress. These artifacts are atypical ephemera, and often accidental products created by various internet algorithms. There is very little direct human hand in these artifacts. Though the purpose in collecting them is not simply for their preservation. It's more about framing them, allowing them to be seen, and showing a kind of bizarre byproduct of these super-functioning and useful systems, such as Google.
When did you first notice the glitch in Google Earth? What inspired you to begin capturing these surreal moments?
It was accidental. I was Google-Earthing a location in China, and I noticed that a striking number of buildings looked like they were upside down. I could tell there were two competing visual inputs here - the 3d model, and the mapping of the satellite photography, and they didn't match up. The computer is doing exactly what it's supposed to do, but the depth cues of the aerials, the perspective, the shadows and lighting, were not aligning with depth cues of the 3d earth model. I figured that this was not a unique situation in Google Earth, and I started looking at obvious situations where the depth cues would be off—bridges, tall skyscrapers, canyons. Soon I noticed the photos being updated, and the aerial photographs would be 'flatter' (taken from less of an angle) or the shadows below bridges would be more muted. Google Earth is a constantly ...
Paul Chan, burningkindlepointone.gif (2011.) (Rhizome Interview)
- Revolutionary Convergences: History and Symbolism in Anonymous and OWS Art
- Drone Ethnography
- Projected Projects: Slides, PowerPoints, Nostalgia, and a Sense of Belonging
- She Was a Camera
- City of QR Codes
- Economic Uncanny Valley
- The Never Forgotten House
- Jack Strange at Tanya Bonakdar
- WALLPAPERS by Sara Ludy and Nicolas Sassoon
- Oliver Laric's Kopienkritik at Skulpturhalle Basel
- Tool Time: Cory Arcangel at The Whitney
- Time and Revolution at the 12th Istanbul Biennial and ISEA 2011
- Internationalism and Nationality; Antiquity and Contemporaneity at the 54th Venice Biennale
- Report from BYOB Venezia
- Keller/Kosmas (Aids-3D) at T293, Naples, Italy
- It's Only Humanist
- Making Word: Ryan Trecartin as Poet
- Life Feed: Webcams, Art, and People
- Big Reality
- Jacob Ciocci
- Daniel Bejar
- Mendi + Keith Obadike
- Jill Magid
- Keren Cytter
- James Howard
- Aram Bartholl
- Angelo Plessas
- Anna Lundh
- NYU’s Interactive Telecommunications Program (ITP)
- Survival Research Laboratories Workshop
- Architectural Uncanny Valley
- Mining Dwarf Fortress
- Reframing Tumblr: Hyper Geography
- Past and Present in "Strange Simultaneity": Mark Fisher Explains Hauntology at NYU
- Put a Corinthian Column on It
- A Thousand Eyes: Media Technology, Law and Aesthetics
- Another Book on the Bookmarks Shelf: BooksOnLine
- Language Mutations: Cuneiform to QR
- Before the Demoscene
- Fabian G. Tabibian Favicons
- Klaus Gallery Builds a "New Wall" for Online Art
- 404 Page Found
- Cole Stryker, Author of "Epic Win for Anonymous" on Interior Semiotics, Context Collapse, and "You Rage You Lose"
- Nett ist die kleiner Schwester von Scheiße: A Little Snapshot of Berlin
- YouTube Censors Petra Cortright, But 'VVEBCAM' Lives on in the Rhizome ArtBase
- Margaret Kilgallen: Nostalgia, Advertising, and Handmade
Digital Arts and New Media (DANM) Technical Coordinator