notes
from 2016 - now
hannah neckel
笑笑笑笑笑笑笑笑笑笑笑笑笑笑笑笑笑笑笑笑笑笑笑笑笑笑笑笑笑笑笑笑笑笑笑笑笑
Fear of content
Two millennia ago echo cursed narcissus with the gift of true self-appreciation
Narcissism get yours today
Blink Effekt in Videos Schnitte
Schwarz vor Augen Style
Alte Drucker mit Testbild
Unity app design für augmented reality
Tremors tv
Ig bildende Kunst
Burggasse galerie
Fan Galerie
Base Hintergrund
Pillen
Blender
Konni tiefenbildkamera
Gelatine Schläuche
Baumarkt Inspi
Moon ribas cyborg activist
Neil harbisson
https://www.facebook.com/groups/37461073846/permalink/10155322640048847/
http://www.kunstkultur.bka.gv.at/site/8100/default.aspx
Britta thie
Mesh mixer
Kari altmann
Can’t Get You Out of My Head by Kylie Minogue (played from another room):
https://www.youtube.com/watch?v=fQIU1n66JnQ
strumpfhosentops mit lötkolben bearbeiten
Parallel Welten
Pluralismus Software
otherizing
Warren neidich
https://blog.cospaces.io/create-your-own-vr-exhibition-b58c2f178e2
Filaflex
genetically modified
Conspicuous consumption only to show off
http://derstandard.at/2000062565550/Die-Lust-an-der-Selbstkontrolle
hologramme
SELBSTOPTIMIERUNG
A whole generation of girls endlessly repeating their own image
Sound aus alten Barbie spielen
Alongside the recognition of women as people comes the need to listen to their voices.
Flamingtext.com
https://cooltext.com
Amalia ulman
In a multidisciplinary Manner, she Charts a soft toned exploration of the relationships between consumerism and identity, ass imitation and social deception.
She uses aesthetic languages as a mechanism to explore the intersection of class and aesthetics at its most salient point: taste
http://dismagazine.com/dysmorphia/66668/kate-cooper-hypercapitalism-and-the-digital-body/
Compare search terms google
Frozen Angels
(women) Being told that they are not reliable witnesses to their own lives, that the truth is not their property, now or ever
Technology as an instrument of liberation
Rückprojektionsfolie Tücher
faceception persönlichkeit aus gesichtern erkennen firma in tel aviv
datenschutzprobleme: darf man gesichter benutzen?
cyberpsychologie linda kaye
emojis als erweitertes ich
neuronale dynamik
menschen als einzige lebewesen die zeitverständnis haben und vergangenheit:zukunft unterscheiden können
feed the flow
katharina große
past natural biodiversity >-< Future synthetic biodiversity
Interactive architecture lab
walter benjamin verlust der aura
issue n° 5 — keen on posthuman bodies.
facebook panorama
Humans are treated as commodities - makes them loose identity
http://www.f.waseda.jp/sidoli/Dreyus_Spinosa_1997.pdf
Standardized nutrients - standardized humans -> soylent
-> Soylent Green film
Optimization of every aspect of life
Even free time is optimized
Why do we have this need to optimize every aspect
Conscious optimization
Is something better if you do it consciously ???????
What is reality, crisis of reality
Random future
Is reality the totality of everything that is going on
Not by subjective conscious perception
More than you conceive as a single person
Problematic term
Dark matter -> dark time?
Mechanical conception of nature / understanding of the universe
Everything has its place
4 dimension spacetime
Evolution as the proof of the possibility of mechanizing history
Hormones make changes in shape of faces
Essen elf particular, individualized natural bodies
Phenomenotechnical work of purification
Andere display formen????? WTFFFFFF
Ibm
Freeing humans mind to shape the future
Pluralität der stile in postmoderne
Identity and emotion through aesthetic
Lubricated
Identified
Familiarized
iPhone Ys = successor
shape ways
Luyang delusional crime
Delusional mandala
Interspecies organ exchange
Kathrin sturmreich digitale klasse
http://baronlanteigne.com/brche/
Wie kann man künstlerische Wahrnehmung nutzen um Wissenschaft verständlich ist
Alles als Daten sehen die man verwerten kann
Intuition
Ästhetik die emotionalität verkörpert
Stimmung bekommen und darauf einsteigen
http://eprints.nottingham.ac.uk/10850/1/Identity_in_discourses_of_surveillance.pdf
Audiovisuelle Limitierung
Nikita diakur ugly dynamics
Karl sims
für die demokratie ist es wichtig, dass von den bürgern bezahlte institutionen ihnen die möglichkeit bieten überrelevante kunst ihrer zeit reflektieren können
über kultur in die gegenwart kommen
drohen in vergessenheit zu geraten wenn sie im analogen bereich nicht aufgearbeitet werden, man muss zusammenhänge schaffen und präsentieren
vielfältige themengebiete
https://78.media.tumblr.com/b2988f90bcd2ec0907f857391120bc38/tumblr_p02a3bij3g1re6nxeo1_540.gif
ich will nie anders leben
ich brauch ständig diese aesthetic um mich
ich träume davon das es augmented reality bald gibt damit ich alles so sehen kann
damit ich die welt mir so aesthetic machen kann wie ich das will überall
alles voller purple vapor aesthetic
http://starkart.org/e-l-y-s-i-u-m/
Flow - existence is temporarily suspended
You don’t have attention left for your body and bodily needs
IMMERSION - you need 10 years of experience
https://www.micropia.nl/en/#gref
koherente aesthetic
wiedererkennungswert
female identity in a future based flow
wie kann ich wiedererkennungswert erzeugen?
demand the future
postcapitalist
Sense of aesthetic shared with different species because we like the same flowers
Infinit distraction
Visual abstraction
Retrotopia
Digital Age
E-identity
The animation visualizes the impressions of
Ultimately wraps to the point of dissolution
Merge different layers of time and perspective
concoctions = Erfindungen
Digital/analogue hybrid concoctions
Dada collage approach
Italienische Futuristen
Need to confound assumptions
Animated homunculus
Catharsis
Automatic data
Kryptographisch
ai platform for crypto information
Cecile b evans:
Examines the value of emotion
how new technologies influence the way we feel and act
How we value emotion in contemporary society
The thing that impacted it the most is technology
How digital technology impacts the human condition
technology has influenced the was that we feel and that we circulate these feelings
Information is emotion
Emotions have a materiality that we need to define
„Hearing the soul“ via telephone „seeing the soul„ via xray
Fascination with digital technology comes from
We grew up with up
Link between feelings and data
physical impact of data -> what impact does emotion have
The virtual is real
Virtual as term used diversity
Virtual is a reality and not disconnected from it
Emotion is a material
Link between data and emotion
Praticipate and listen to global WE
Participate in world we live in, in the now
Enjoying the things everyone else enjoys, having the same fears, desires etc
No internet no art
discussing art and cultural shifts influenced by the digital sphere
„We shape our tools and thereafter they shape us“
Kenji Ekuan
1961 kikkoman soy sauce bottle designer
Hiroshima surviror
Faced with brutal nothingness, I felt a great
Nostalgia for something to touch, to feel to look at, as evidence that we’re here as human beings
The existence of tangible things is important. It's evidence that we're here as human beings
whose work articulated the speed and futurism of the modern age but never ignored the humans using it
attitude that combined pacifism and an increasingly exuberant materialism
Rainer Maria rilke 9th alley
Show them something simple that was shaped by hands and looked at by eyes
Show them how happy a thing can be
When my phone takes your picture will it weigh more lol xd
How does technology feel
Their search for meaning
Sentiment =/= nostalgia
Appropriating pop culture
What can technology open up for the body?
Working with digital tools
Emotional contagion
Gefühlsansteckung
Emotions being transferred
Feeling things online
Emoji react only
Users as prosumers
Workers to make data easier interpretable for us
Companies wanting to pass as human
Caring about it
Public is demanding neutral and public services from corporations
How did these expectations arise?
http://www.businessinsider.de/google-now-offers-a-man-condolences-2016-3?r=US&IR=T
Google now expressing emotions, sympathy before showing emotionally charged photos
Post human -> post face?
After age of information comes age of decision
society 5.0
Bertold Meyer
Tech psychologe
heisenberg : geist und materie gehören zusammen
das geistige ist der anfang des seins
logos ist auch information (sinn,vernunft)
die grundlage des seins ist information
kann wirken und energie liefern
information verlangt beziehung
https://d-nb.info/982373082/34
New media artist, designer, researcher with focus on posthumanism, media theory and technological graphic design
das „wanting“
revisits matters related to perception
ventures into the territory of phenomenology
den Ursprung der Erkenntnisgewinnung in unmittelbar gegebenen Erscheinungen – eben den Phänomenen.
What interests him is the correlation between appearance and that which appears, and the way in which this correlation allows us to understand the relationship between the self and the world.
Exorbitant
The separation of an emotion or behavior-provoking verbal stimulus from the unwanted emotional or behavioral response as part of a therapeutic process.
Transmedia storytelling (also known as transmedia narrative or multiplatform storytelling) is the technique of telling a single story or story experience across multiple platforms and formats using current digital technologies, not to be confused with traditional cross-platform media franchises, sequels, or adaptations.
syntech
Dismantling
From fear to flow
Digital rivers
Im Lauf der Digital Rivers fliessen wir durch das sich ständig umformende Internet.
The real and virtual are no longer separate. Technological advancements have become so embedded in our daily lives that we often cannot separate our digital personas from our physical bodies. Meanwhile, advanced robotics and artificial intelligence systems replace human functionality, Facebook algorithms dictate our news and information, and virtual worlds imitate reality, with a tinge of fantasy. With virtual reality, 3D printing, and augmented reality we no longer debate how the real and virtual are separate, we wonder how to move forward.
We have entered a new world. The speed at which it progresses presents a contradiction. Moments are both memorable and forgotten. This is found in trying to remember older versions of Facebook, or what life was like before it. At the same time the media we use can reunite distant friends or obliterate any history of former lovers. We exist paradoxically forever and fornever. The selected artists of this exhibition interpret the new world, their artworks portray the present, a hyper-technological world, and hypothesize the future - a dream caught between utopia and nightmare.
memory foam
experience your identity
SIMULATION IS THE IMITATION OF THE OPERATION OF A REAL WORLD PROCESSOR SYSTEM OVERTIME.
The act of Conceptual Clicking can make something happen. Postdramatic staged Click-Interactions. Work list of Read'n'Click-Pieces. From Conceptual Art to Read'n'Click Concepts: The New Reality in Art: From Point of View to Point of Click.
What is contemporary in contemporary art?
Convergence Culture - Jenkins
alle Medien sind am Computer versammelt
Identity politics - female identity
post cinema
multilayered
I cannot see the end of infinity
Subjective reality
Shifting the gaze from
the absurdity of desire
App art
infinite distraction
„To be is to be connected“
What happens to the brain under the influence of digital consumption
Merging real and virtual to combined digital experience
Using her phone and computer, Kathryn Ashford is interested in vision language of form and process. The artist creates with a variety of tools and digital mediums in order to re-materialize a sense of spirituality, through virtual realities ideals that are paradoxically not real.
f. Videocodec:
creating an immersive experience
Virtual art from illusion to immersion !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
exploring the intersection between
Embrace the unknown
images that bring to the fore the relationship between technology and human experience.
disidentification from the face
The face just one among many tools
Why do we form our identity through the face
We don’t identify with other bodily functions or parts
The face is not us
The face is just a mask
Merge our being with the face
The being is the real us
The face can be identified best by sight
But we are culturally trained to rely on our sense of sight the most
it is known that other forms of living result in different implementations of the senses
Hunter gatherer cultures for example have a much better sense of smell and it is more integrated in their lifestyle
-> Maryam Monalisa Gharavi talk @sonic acts 2017
virtual truth
We now live in a world where virtuality and simulation are gradually becoming integral to our societys systems. This blurring of and interplay between real and virtual space has profoundly affected our aesthetic realm for example when objects in real space suggest and take on the look of synthetic objects created for virtual space. Pluralistic modes of visuality, new perspectives, and imagined realities have emerged and thus the very nature of our perception has been challenged.
time sensitive
virtual abstraction
Invisible dimension
digital desire
noted how the Facebook 360 video, like other virtual-reality experiences, places the viewer at the center of a world while also disembodying them.
The viewer is absolutely central, but at the same time, he or she is missing from the scene,” hito steyerl
“Is this ‘bubble vision’ — this 360-degree vision — a training scheme to adapt humans to a world from which they are increasingly missing because they have been replaced by invisible systems or automation or robot?” asked Steyerl, whose research focuses on media, technology and the distribution of images. “Are people rehearsing how to be their own ghosts?”
We experience life and evolve through digital spaces that hold less and less meaning to us every day. As we are acting everyday more like them, our quest to understand the machines who encrypt our data has become closer to an identity crisis.
Fake sakura
Die Beständigkeit der Erinnerung - dehnbare zeit
Konetextbezogen und daher sinnvariabel
Post visual
Globale Performance
lediglich den nun nichts Synthese des absoluten Element die Extreme des absoluten Geistes, die These und Antithese aufzulösen. Nach ihm ist das travestierte Natur in der
Wirklichkeit=gegenständliches Wesen (??)
Geschichte der technologischen Entwicklungen
insbesondere auch die kognitiven Grenzen – ausgereizt haben
Methoden der Verfremdung
Rekombination und Kontextualisierung
Ob sich die Nutzung einer Technologie breitenwirksam in der Gesellschaft durchgesetzt hat, lag immer am Content.
Digitale Technologie wird auf diese Weise von der Ebene technisch- naturwissenschaftlicher Mechanismen auf die Ebene ästhetischer Wahrnehmung und gesellschaftlicher Wirkungs- und Veränderungskräfte transponiert.
mediatisierten Welt
Cyber Sprache
Ergebnisse experimenteller künstlerischer Forschung und prozessorientierten Arbeitens
Versuch der Synthese zweier gegensätzlicher Elemente.
eine künstlerische Interpretation und ein Versuch
Suche und offenlegung
Eigenheiten in dem objekt konserviert und somit skulptural im Raum
Analysiert
automatisierte Dada-Texte
Inspiriert von japanischer Kultur 😤
🤫🤭🤥🤔
code- und Zeitbasiertheit
virtuelles Kunstschaffen
Dekonstruktion ästhetischer, digitaler und gesellschaftlicher Codes
Vergänglichkeit virtueller Netzkunstobjekte
konzeptuell oder real, lokal oder global, vernetzt
Kunst in enger Verbindung mit (digitaler) Technik und gesellschaftlichen Fragestellungen
Prozesshafte Kunst
Post-irgendwas
Information als emotion
Enthüllen
die grundlage des seins ist information
menschlichen Erkenntnis- und Informationsverarbeitung
monopol auf realitäts beschreibung
Authentizität damit Erlebnisse nicht gelevelt
Wird
Zeitgeist
Gegen Entmündigung
Selbstverantwortlichkeit
generative formen
Computer generierte Ästhetik
es gibt neue Kunstszene in den sozial Medien Ursprung, und was macht diese Kunst Szene? Eher abstrakte Darstellungen digitaler modelliert mithilfe Programmen
Pure aesthetic
Materialisiert um es aus dem digitalen zu extrahieren
Vorreiter in dieser Hinsicht
Positivistische Utopien
Neuer internet Optimismus
Post privacy
Durch Maschinen wahrgenommen werden
Impulse gegen Dystonien
Post-kapitalismus
post privates zeitalter
-> post privacy
Wegkommen vom angstgetriebenen Diskurs
1984 beschreibt der Autor William Gibson das cyberspace als „consensual hallucination“
female gaze
Visual landscape
…………..
Postmodern condition
Zustand der zeit
post industrial world
Commodities get their value not from their positive useful content but from difference to other commodities
With the triumph of objects over subjects, there is no identity left inside.
All we have is the objects we own, without inner content
differentiating ourselves only by the objects we own.
There is no real me only only abstraction, an illusion
Just like a child being raised by wolves, a child raised by objects becomes more like an object
Replaceable, disposable
Characteristic of the postmodern condition is hyperreality: the way that the unreal/ simulations of reality feel more real than reality itself
In postmodernity the objects have won and the subject has lost
Trapped in a system of objects
Illusion triumphs over reality
…………….
The experience of a unity needs to be developed over time through socialization
An individual must be manufactured
The individual is made up of signifiers - nationality, subculture, ethical code, …
All these signifiers come together to producing a persons experience of being an individual, a subject
The signifiers can become disconnected so we are no longer able to experience ourselves as a coherent subject => schizophrenia = breakdown in the signifying chain
They become disorganized then way they were in infancy
In modernity people were able to see themselves a part of a greater whole/history/community
Place themselves into a narrative gives meaning = meaningful role in life
Tell a coherent story about yourself
In postmodernity all those narratives that gave meaning disappeared
this happened on a cultural level leading to schizophrenia in our society
Signifieres that gave us meaning as a culture dissolved
We lost power to historicize ourselves
Instead we have disconnected events that we can’t make sense of
No narritive to identify with
We can’t comprehend the load of information and disconnected events and make meaning of them anymore
Science, art, news, celebs etc everything becomes mashed together in a stream of content
Instead of a coherent narrative, we have loads of disconnected signifiers
Is the solution to discover new narratives to identify with?
The desperate search of people to find meaning in narratives,
The subjective unity of lancan is not natural, it is something that must be upheld, a social construct most people spend their life trying to maintain
Objects give us the promise to upkeep the unity of signifiers we strive for
As the signifiers that gave us our identity used to come from religious iconography, paintings, sculptures they now come from mass media
This doesn’t only change the identities we form
But also how fast we form them and how fast we get rid of them
„I assert that the increasingly rapid rate at which images are distributed and consumed in late capitalism necessitates a corresponding increase in the rate that individuals assume and shed identities.
Because advertisements link identity with the need to purchase products, the acceleration of visual culture promotes the hyper-consumption associated with late capitalism.“ Peretti
cultural tempo unparalleled in history
People assume and shed identities like never before => consume like never before
"An essentially schizo person can have a quick ego formation, and buy a new wardrobe to compliment his or her new identity. This identity must be quickly forsaken as styles change, and contradictory media images barrage the individual's psyche“
The person becomes schizo again, prepared for another round of Lacanian identification and catalogue shopping. The "Ideal-l"'s that the capitalist media offer are perhaps even less complex than the infantile imago of the child's own reflection. Needless to say, such an ego wears out fast, inspiring the consumer to shop around for another one.“
Jonah Peretti, Capitalism and Schizophrenia
„I needed you to please give my reflection a break
From the face it’s seeing now
Ooh darling would you mind giving my reflection a break
From the pain it’s feeling now?
I got to do things my own way darling
You should just let me, will you ever respect me? No
Do things my own way darling
You should just let me why you will never let me grow“
https://www.youtube.com/watch?v=9yWGK5wHTrI
Consideration Rihanna
Mark fisher: effect of cultural condition = inability to synthesise time into any coherent narrative
„Jamesom observed.. that Lacam's theory of Schizophrenia offered 'suggestive aesthetic model for understanding the fragmenting of subjectivity in the face of the emerging entertainment-industrial complex. "With the breakdown of the signifying chain', Jameson summarised, „the Lacanian schizophrenic is reduced an experience of pure material signifiers, Or, in other-words, a series of pure and unrelated presents in time“
The laconian schizophrenic is reduced to an experience of pure material signifiers -> blip culture
Time is ready cut into digital micro slices
Schizophrenia is the limit of capitalism
That which capitalism moves towards but never reaches
Schizophrenia like capitalism breaks down signifiers
It destabilises them, delouses them, deterritorialized them
Capitalism rips signifiers out of territories which it used to inhabit
It breaks apart things that are usually combined
Religion-people-customs-etc
„Capitalism continually breaks down the cultural, symbolic and linguistic barriers that create territories and limit exchange“
=> deterritorialization of subjectivity
Accelerate or overcome schizophrenia
Accelerationism
Reclaiming leisure
Cognitive dissonance
schizophrenic experience is an experience of isolated, disconnected, discontinuous material signifiers which fail to link up into a coherent sequence.
The schizophrenic thus does not know personal identity in our sense, since our feeling of identity depends on our sense of the persistence of the "I" and the "me" over time
=> postmodern montage
Hauntology
Haunt
Ontology = study of being
hauntology is not fully present, but ghostly present
Derrida
the way we encounter things as never fully present, never really there
In all our experiences the present is always mixed with past & future
that which is present is always mixed up with that which is absent
Experiences are always haunted
The emergence of new technologies enabled the emergence of new cultural forms
Today new technologies are subordinated to the repetition of old cultural form
Because of our condition we have unlearned the creation of the future
The future has been cancelled
Trying to rediscover how the future has been imagined in the past
Inability to make new cultural forms
Orient ourselves by the same past again
We have become more excited by reliving the past than imagining new futures
we are more interested in the aesthetics we are able to imitate and revive
rather than the aesthetics we can create
Amalgamation of past cultural signifiers
The past using us to revive itself
Vaporwave characterized by a feeling of returning to the past
Perfectly reflects our cultural condition (mark fisher!)
Our cultural development has slowed down, perhaps started looping indefinitely
What are these trends a symptom of? What do they say about our current condition
the correlate of a future that wont arrive is the past that won’t disappear
Our past cultural forms will not let us move on
We are no longer living in a world that is changing, producing history, but living in a dream that is haunted by history
Btu the past is only an idea present now
Vaporwave is the music of non times and non places because it is skeptical of what consumer culture has done to time and place
identität/subject aufgelöst im ornament der masse
The goal is not to wake up but to dream differently
Interplay between past present and future = hauntology
We can only make sense of the future through the past
Our experiences are always haunted
Haunted by what no longer exists and not yet exists
our experience is ghostly as it is absent yet real
Revivalism
The past is using us to replay itself
since the internet became a mass medium we have been stuck to relive the past
we can’t imagine a new future anymore
because a new future can’t arrive with a past that won’t go away
this trend of nostalgia is a symptom of our current condition as a culture that can only find appeal in preestablished signifiers
encaging ourselves in the safety of the familiar
the correlate of a future that wont arrive is a past that won’t disappear
we are no longer living in a world that is changing, producing history, but living in a dream that is haunted by history
our past cultural forms will not let us move on
a structure that is updated but never changing
dragging behind the present
a world stuck in time
In late capitalism the need to relive the past becomes accelerated by our necessitation to assume and shed identities. accelerating to an extent where the future can’t keep up with the needed velocity anymore, so we turn to a past to satisfy our need. rehashing the past again and again in new forms, mixed and intertwined with the future creating a culture of non time and non place.
Genuine shared experience online, feeling included
how to successfully endure contemporary existence
phones live in a society
interpersonal crowding
my fidelity to my own desire = ethics
immoral ethics
fragmentation of reality
https://aaronzlewis.com/blog/2019/05/29/you-can-handle-the-post-truth
*~feels over reals~*
21st century = century of aesthetics
age of reason vs age of spectacle
geshadowbanned
form follows footage
mein herz hängt da dran
die wirklichkeit optisch verändern/ verfremden Y
my work is only about the emotions these technological
changed evoke in us
it is very much about the interpersonal
relationship forming between us and our phones / our online lives
there is no reality the only way to define reality is through our emotions which make everything real
so the emotions we feel by our tech are the same we feel by anything else
so there is no online offline anymore only emotion
it is hard to differentiate between dream and reality and the internet is like a second dream space making it unable for our brain to seize this distinction
the technological context of this according to baudrillard is that of a sensory overload in the 20th century, were bombarded by so much information that we become passive, blurring everything out to a white noise
in this scenario people themselves become mere terminals or pure screen pure surface of absoption
things are constantly projected onto us from screens (phones computers ads magazines etc) to the point where we ourselves become mere screens whose purpose is to absorb
london/ salzburg plan
aesthetic stoff
ösen chains
transparente stoffe drapieren (textil müller, kika, ikea,
mit licht und ventilatoren
licht , flammen an wand malen -> farben
große hand peace sign lol xd
cutie
aestehtic pleasure
decadence opulence
Heidegger
Mode of revealing
Things reveal themselves to us in different forms depending on who we are and our situation
trapped in 3d
Baudrillard agonie des realen
die wüste des realen selbst
mit der simulation verschwindet die gesamte Metaphysik. Es gibt keinen spiegel des seins und der erscheinung, des realen und seines begiffs mehr. Kein imaginäres nebeneinander: die entscheidende dimension der simulation ist die genetische verkleinerung
whose visual vocabulary I borrow heavily from
perceiving yourself as a free being by surfing freely through the internet
the ultimate freedom
walter benjamin
ca min 30
release the weeb
contrapoints opulence vid
i agree with all of these comments and i feel
all these emotions
lost memories
schachbrett pvc
yearning
~baudrillard utopia deferred
liquidate the space of university, liquidating their own discipline
there was a mode of disappearance through excess in which each of us could rediscover themselves
„virtuality“ is a dream space
subverting the principle of social reality
#lolcore
artist talk martina menegon:
Artists working with Virtual Reality as an artistic medium and form of expression often embrace digital artefacts and imperfections that arise during the creational and computational process. When these digital distortions are applied to the virtual bodies they trigger a sense of "intellectual uncertainty" and uncanniness. In her talk, Martina Menegon will introduce her artistic practice and will walkthrough the concept of synthetic corporeality and of avatars as perceivable entities in her works.
comment from surf:
the virtual is not less real than the real, it is just not physical
notes i found from 2017
constant change
not knowing how u look - dysmorphic
trying to secure/fix physical identity
photos as part of identity / extension
get with it just dont it
post symbolic communication
communicating directly by creating what is talked about instead of symbols
algorave
https://www.youtube.com/watch?v=UFU-l5Zrhkw
A Declaration of the Independence of Cyberspace
https://www.eff.org/cyberspace-independence
barbie als geheimagentin
https://www.youtube.com/watch?v=EO5xwU6nXSw&t=132s
magenta color
https://medium.com/swlh/magenta-the-color-t
hat-doesnt-exist-and-why-ec40a6348256
displacement of objects from their natural habitat
mega aesthetic chain wandhalterung
individuals develop collectively in preexisting communities
freedom is something that develops intersubjectively
i am free when i am treated like a free person by other
necessity of recognition -> that can only happen when i treat the other person as a free person and affirm my own selfhood
not a passiv process only in actual interaction with others
self consciousness is not introspection -> its intersubjective
selfhood developes practically through interaction
interaction must flow both ways symmetrically
https://www.bbc.co.uk/ideas/videos/what-is-hauntology-and-why-is-it-all-around-us/p0729knv
hauntology often has the aesthetic of schoolbooks etc
oder functional idealism
hauntology is not a fixed label with unmovable boundaries
it’s more a feeling evoked by disparate cultural artifacts of a certain time
https://de.contrado.com/ billig textildruck
"we must cultivate our garden” voltaire
perfect sensuality soft like reality
ventilator bewegung stoff animation
rain outside
drain inside
super ultra virtual suv
ultra hyper paradise uhp
hyper style
uncandy
serendipity
happy coincidence
eternalism
time as a landscape
with the right perspective everything exists all at once
threat of romance
hybris
räumliche collagen
the best way to contact me is to meet me in my dreams at 3am
https://melobytes.com/en/app/image2music
manifesting 5D in your 3D reality
11
When you look at the number 11 it represents two pillars that together create a gateway or portal. Look at a door it is made of two even sides on the left and right that create a doorway to enter from the one place to the other. From the past into the future. From the 3D into the 5D. From fear into love.
Why does one have to act human? why are we bound to our human form
foreverfluidfantasy für skulpturen
whats missing?????
longing always
</3
live in ecstasy
die extase der kommunikation baudrillard
这是蒸汽波吗
mark fisher capitalist realism
https://www.youtube.com/watch?v=2YcJLrTxgtM&t=1933s
around min 55
post literate - always too wired to concentrate
having your devices in reach always, even when not using them as a reassurance that you are still connected to the matrix
presence of the phones - reassurance within reach
inability to synthesis time
lacan schizophrenia
breakdown of the signifying chain
reduced to an experience of pure material signifiers
unrelated presence of time
born into ahistorical blip culture
time has always come ready cut in digital microslices
addicting its users
adhd as the pathology of late capitalism
dyslexia -> post lexia
processing info and data very effectively without needing to read
capitalism is illiterate
eclectic language
data processing
post lexical efficiency
post literate subjectivity
rhizomatic flow
moving away from moral order to aesthetic one
antiterritotial overcoding
honey trap
semiotics
study of signs
empty signifiers
no inherent meaning
story they’re telling through the outwardly projection of signs
the things that you buy as an expression of who you are
but who decided the meaning of those signs & symbols
who created those tools
through the media?
since we live in a fragmented disconnected society
compensating for disconnection
constant stream of visual images that depict what the signs should mean?
no distinction between representation of reality and reality itself
Focusing on nostalgia only reveals your emotional idea of truth.
The general theme of your life during this period is to learn to appreciate restrictions in your life for the structure they give you. Feelings are facts, but only to the person who is feeling them
https://www.sciencedirect.com/science/article/abs/pii/S0747563215001272
https://plato.stanford.edu/entries/baudrillard/#toc
https://books.google.at/books/about/Specters_of_Marx.html?id=sEENbAP5FZsC&redir_esc=y
https://www.jstor.org/stable/10.1525/fq.2012.66.1.16
https://monoskop.org/images/9/90/BAUDRILLARD_Jean_-_1981_-_Simulacres_et_simulation.pdf
epiphany
elysium
diphany
https://www.smu.edu/cox/Learning-Culture/Research-Papers/20191001_Fisher
https://www.sciencedirect.com/science/article/abs/pii/S0747563215001272
https://www.journals.uchicago.edu/doi/abs/10.1086/691462
https://aeon.co/ideas/are-you-just-inside-your-skin-or-is-your-smartphone-part-of-you
https://www.theguardian.com/us-news/2018/dec/09/tech-mind-body-boundary-facebook-google
https://www.nature.com/articles/ncomms14652
https://journals.plos.org/plosone/article?id=10.1371/journal.pone.0202188
https://www.learntechlib.org/p/210181/
https://journals.sagepub.com/doi/10.1177/2050157918808327
https://www.researchgate.net/publication/327138905_Outsourcing_Memory
Ryan Trecartin https://vimeo.com/trecartin
Mike Kelley
what can you feel your dreams yearning for?
“Ecstasy of the social: the masses. More social than the social. Ecstasy of information: simulation. Truer than true. Ecstasy of time: real time, instantaneity. More present than the present. Ecstasy of the real: the hyperreal. More real than the real. Ecstasy of sex: porn. More sexual than sex … Thus, freedom has been obliterated, liquidated by liberation; truth has been supplanted by verification; the community has been liquidated and absorbed by communication … Everywhere we see a paradoxical logic: the idea is destroyed by its own realization, by its own excess. And in this way history itself comes to an end, finds itself obliterated by the instantaneity and omnipresence of the event.”
—
Jean Baudrillard - The Vital Illusion
benjamin cont.
when you are looking at something irl you are experiencing it
that experience is the aura
by introducing a technological interrupter
the experience changes
the aura of the work changes
reproducing a moment with technology interferes with the auratic experience
https://cyberfeminismindex.com
https://www.e-flux.com/journal/10/61362/in-defense-of-the-poor-image/
christian höller - digital reality:
Keiichi Matsuda – Hyper Reality
Vladan Joler – Monologue of the Algorithm
Joana Moll – Lecture
Interview with Joana Moll:
https://www.springerin.at/en/2020/2/es-bleibt-ein-gefuhl-von-nacktheit/
Interview with Paolo Cirio:
https://www.springerin.at/en/2020/1/es-wird-ein-bisschen-unrentabel/
https://virtualmanifestations.hotglue.me/?JensHuls
https://www.instagram.com/p/CGppJPUFgZz/
HYPERTENSION presents video based works that imagine and question possible current and future dystopian scenarios of human expression, intimacy and body related issues in the virtual as well as in the analogue space.
An important starting point of the presented artistic positions is the ability of digital image production to re-imagine the material world in a radically dematerialized way. The artists develop a multi-layered, both deeply figurative and abstract discourse that deals with the impossibilities of a sufficient representation of the physical, the corporeal of the human body.
cajsa von zeipel
As the world adjusted, the sculptures themselves began to embody those changes, taking on objects, feelings, and postures of a society in flux. The detritus of capitalism latches onto their bodies - rolling headlines become apparel, fast fashion stretches and expands to cover bulging bodies. The gaze of the figures makes it explicit that the audience is culpable. By meeting the eyes of those who view them, the figures ask for their bodies to be interpreted. Their existence blurs lines between art and viewer, see- ing and seen, gender and body. The imposing presence of the sculptures becomes a tease; these bodies cannot be attained.
The title for Nine Lives comes from the eponymous Ursula K. Le Guin story, which explores ideas of cloning in order to challenge notions of self. Likewise, von Zeipel’s figures are glitched simulacra of the human form. Von Zeipel uses silicone – a material that is common in implants, sex toys, and kitchen equipment - to bring her sculptures to life. Beneath the silicone there are parts of mannequins, objects that are typically used to construct desire in capitalist spaces.
As we witness how these nine figures reimagine eroticism, we can manifest new ways of being with each other. We can make our own rules that refute systems of governmental control. Technology is no longer purely accelerationist; it is something to be altered for our own purposes. Stepping into Nine Lives, we recognize how capitalism has profoundly influenced our ability to produce self. But by existing at once within and outside of society, these nine figures offer an advanced approach to being. Futures are made out of the fragments.
still life - landschaftsmalerei
https://rhizome.org/editorial/2013/dec/19/expanded-internet-art-and-informational-milieu/
https://aesthetics.fandom.com/wiki/Weirdcore
super coole old web collection website
wand prints großflächig
und dann kleine skulpturale elemente
https://aaronzlewis.com/blog/2021/01/17/inside-the-digital-sensorium/
https://spacetypegenerator.com
some questions are better dissolved than discussed wittgenstein
https://www.jstor.org/stable/24434867?seq=1#metadata_info_tab_contents
framing
der prozess der einbettung von ereignissen in ein raster der deutung
i see you in my dreams quite often
this feels like a continuation of a dream
empfindung
über die gefühle die welt erfahren
future is an attitude
dream spaces help us in envisioning real spaces and possible futures
we need them to envision futures
hope
schmerzlos, fast schon herzlos trennen wir uns von den dingen, die früher herzensdinge waren.
die erinnerungen, die in den dingen aufbewahrt sind, haben plötzlich keinen wert mehr. sie haben
neuen erlebnissen zu weichen. offensichtlich vermögen die menschen heute nicht mehr bei den dingen zu verweilen oder sie zu ihren treuen begleitern zu beleben. herzensdinge setzen eine intensive libidinöse bindung voraus. wir wollen uns weder an dinge noch an personen binden. unzeitgemäß sind bindungen. sie schmälern die erlebnis möglichkeit, nämlich die freiheit im konsumistischen sinne. wir nehmen du he primar auf die in ihnen eingelagerten informationen wahr. wir kaufen und konsumieren emotionen, indem wir dinge erwerben. produkte werden mittels storytelling mit emotionen aufgeladen.
entscheidend für die wertschöpfung ist die produktion distinguierender informationen, die dem konsumenten besondere erlebnisse, ja das erlebnis des besonderen versprechen. informationen werden immer wichtiger als das dingliche an der ware. der ästhetisch kulturelle inhalt einer ware ist das eigentliche produkt.
wir inszenieren uns. wir performen unsere identität
kulturelle produktion -> produktion von informationen die künstlerische prozesse adaptiert hat.
im zeitalter der undinge kann man aus dem besitz einen utopischen klang heraushören. eine intimität und innerlichkeit zeichnen den besitz aus. erst eine intensive beziehung zu den du gen macht diese zu einem besitz.
smartphones landen schnell auf dem müll, weil wir sie nicht mehr besitzen. der besitz wird verinnerlicht und mit psychischen inhalten aufgeladen. die dinge in meinem besitz sind ein behälter von gefühlen und erinnerung
das immaterielle wird zur ware
ohne körperliche berührung entsteht keine bindung
auratische ferne walter benjamin
aura (hauch, wirkungskraft, ausstrahlung)
vgl. fluidum das fließende (besondere von einer person od sache ausgehende wirkung die eine bestimmte geistige atmosphäre schafft)
Aura also zwei Komponenten, Raum und Zeit, mit welchen der Betrachter verschmelzen muss, um die Aura wahrzunehmen.
Wirkung auf…..
Ein Objekt an sich kann keine Aura besitzen, sofern es nicht durch menschlichen Einfluss auratisiert wurde.
„Die Aura ist gezeichnet von den Spuren der Geschichte.
Durch die Vervielfältigung der Exemplare verwandeln
die Reproduktionstechniken das Einmalige in ein
Massenphänomen. Sie ersetzen die unwillkürliche Erinnerung
durch die Vertrautheit der Bilder, schaffen zugleich jede
Distanz zum Werk und seine Einbettung in die Tradition ab.
Aufgrund seiner Bilder gehört das Werk nicht mehr dem
Vergangenen an, sondern ist immerwährend gegenwärtig, freilich
in einer leeren Zeit.“[7]
susanna fritscher artikel in der presse mai 2021
in ihren filigranen, raumgreifenden installationen aus tausenden hauchdünnen silikonfäden schafft sie immaterielle architekturen, füllt räume bin der decke bis zum boden - und kreiert so eine verlangsamung. bewegt man sich vorsichtig durch ihre fragile strukturen, verändert sich automatisch das eigene bewusstsein für den Körper, bekommt man eine neue achtsamkeit, wenn man so will für innere und äußere begrenzungen
...fällt das licht vom fenster.. auf die... fäden herab...beginnt es optisch zu vibrieren.
aus dem man am ende den blick zurückwirft, zurück zur einganstür, hinaus in die kultivierte natur. a yaaaas
auratic sentiencey
i feel like
like the lines of my body are melting away
how do you feel when you are not dreaming
the difference between reality and dream
is belief
how do you know when you are dreaming?
i don’t feel like i have a physical body
i can’t feel the boundaries
of where it ends
my form is floating
, overflowing, breaking out of constraints
i feel like a cloud of consciousness
i need someone to hold me to feel
my own borders
where i end and begin
like a baloon
that floats away
333
everytime i get close it disappears
post silicon valley utopia
https://culturehustle.com/products/pink-50g-powdered-paint-by-stuart-semple
PINKEST PINK PIGMENT 6€
i want to devolve into nothing
the dream is ending
its time to start anew
have you noticed our dimensions converging
just relax and have fun
subversive cuteness
cuteness as the ultimate tool
envisioning real
what can you feel your dreams longing for?
is it real?
everytime i get close it disappears
whats missing?????
have you noticed our dimensions converging
the best way to contact me is to meet me in my dreams at 3am
I see you in my dreams quite often
this feels like the continuation of a dream
i dont want reality
i want to devolve into nothing
the dream is ending
its time to start anew
just relax and have fun
———————————————————————————————————————
some questions are better dissolved than answered
dream spaces help us in envisioning
real spaces and possible futures
</3
we need them to envision futures
hope
honey trap
Feelings are facts, but only to the person who is feeling them
sentiment
sensation
perception
sentiency
percept
feeling
sentience
sensibility
re-imagining the material world
future is an attitude
technical machine vision of what the future/nature is
artificial eye layer fetishism of it
always made sculptures with images that i myself got seduced by
affected by, moved
visual complexity as source of attraction
mediated with artificial layer through visual culture that is changing
how we recognize beauty on a neurochemical level
resistance to revelation
𝓭𝓮𝓵𝓲𝓻𝓲𝓾𝓶
𝓮𝓼𝓴𝓪𝓵𝓲𝓮𝓻𝓮𝓷
associated in symbiosis
post nostalgic knowings
pure bliss ✨
cybernetic serendipity
communicate in a multisensory way
live immersed in this distractive reality
passively absorb meaning
aestehtic experience is realized in the mode of distraction
visual philosphy
existing between material reality and utopian dream
extending
i dont want reality
everytime i get close it disappears
have i shown up in ur dreams yet?
reality is melting away - am i in your dreams yet?
everything is too real
i feel reality melting away
purple night sky ahead
purple dreams above
my heart aches for
my memories are melting away
everyday i think about
trapped in 3d
digital desire
my heart
my digital desire is trapped in 3d
there are gaps in this reality
youve entered my heart (and now you cant leave)
have i shown up in ur dreams yet
“Achingly romantic”—Vogue
“A melancholy meditation . . . Violet’s poems tap into Del Rey’s signature gauzy, glamorous style."—Bustle
“Mesmeric glimpses into the existence of a cultural enigma.”—i-D
"Her words work their way around you, pulling you into a world that’s not unlike a David Lynch movie.”—Barnes & Noble
i dont want reality
everytime i get close it disappears
have i shown up in ur dreams yet?
reality is melting away - am i in your dreams yet?
everything is too real
i feel reality melting away
purple night sky ahead -purple dreams above
my heart aches for you- even now
the sky is blue
purple against blue
blue through purple - is there a reality there
surrounding a dream?
consuming dreams
crawling towards a secret world
to create a balance
oh what shall i do?
will i run into
pushing reality to the side
must i show up in ur dreams yet?
a new world await - chasing reality to the side
faster than the speed of light ahead - can i touch it?
im a starless night sky
feel alone but connected
think of me
passion is painted onto my face
the process of adding luster
i feel so tired
have i shown up in ur dreams yet?
i want to know more
im a black starless night sky
purple dreams above
all i see is purple
is purple what you see?
i feel alive
touch the stars
i feel the world stop
a new world await
im chasing reality to the side
everything has become way too real
stars are not stars but my eyes
see the universe everywhere
may it be so?
i feel alive
im pushing reality to the side
i have explored the human heart
faster than the speed of light ahead
reach for the stars
im so tired
i want to know more
i feel alive
im chasing reality to the side
everything has become way too real
i just want to know
the only time you'll ever see me
Is in your dreams
displaying 3d models on web
https://glitch.com/edit/#!/tmk-hannah-test?path=index.html%3A2%3A16
alessandra lemma
reale und virtuelle welten verschmelzen zu etwas neuem. für junge generationen sind die digitalen netzwerke vor allem eine erweiterung, der rückzug in den virtuellen raum als schutzfunktion. man tauscht die wirklichkeit oft unbewusst gegen den virtuellen raum, um reale begrenzungen hinter sich zu lassen.
verkörpertes internet mit lebensechten interaktionen
beschränkungen des alltags entfliehen, ist ein uralter menschlicher impuls
ambient computing
ambiance
https://www.3djake.at/fiberlogy/fibersilk-metallic-pink
https://www.3djake.at/azurefilm/silk-pink
Archive for Digital Culture in Theory and Practice
sadie plant
this question of cyberspace itself being supposedly immaterial - a matter of symbolism, metaphor and imaginary zone. this is really a tendency to make cyberspace into a matter of metaphor and repeating the great idealistic project which is characterized western patriarchal culture, which has always been an attempt to somehow climb out of matter to get into some immaterial zone. a zone which would be both insubstantial and ineffectual (the two senses of the word immaterial)
cyberspace is already a space quite hostile to traditional masculine identity, there is no need to forcibly feminize it, because it is inherently femme
cyberspace NOT as metaphor, imaginary zone
it is not a metaphor for our times
turning everything into immateriality is an old trick of patriarchy
why do all these men, baudrillard, fisher usw see their era as the end of history? as if there is no future to come?
a crisis for men
but an opportunity, freeing and taking over of non men
seduction was nont only a pleasure, but a trap
hooking them
suddenntly its masculinity that is lacking, a strong sense of identity
cyberpunk as the desire for transcendence
to get out of matter/imminence
next xxxhibition title: hot4d 🥵🥵🥵
obsessively ritually harvested through the internet
making the fragility of the sculpture visible
the unconscious escapes the digital machine
symbiosis singularity
privatised companies controlling the internet
the internet is a public place/public forum
our usual definition of freedom is exactly what we do online
·̩̩̥͙＊*•̩̩͙✩•̩̩͙*˚♡̩͙˚*•̩̩͙✩•̩̩͙*˚＊·̩̩̥͙
a suspicion that lightness is not deeply serious (but instead whimsical) pervades aesthetic discourse
but what if lightness is a philosophical choice,
to temper reality with strangeness,
to temper the intellect with emotion
to temper emotion with humor
lightness is then a philosophical victory over heaviness
i need your presence
Zuzanna Czebatul
“Czebatul’s take on lost futures is always more manic than melancholic. By her own account, “In today’s late-stage capitalism, art’s central concern should be to critique power while still offering joy.”
Here she straddles a thin line between the strategies of subversive affirmation developed by 1980s artivists like the Orange Alternative and an accelerationist embrace of capitalism’s inherent contradictions”
https://www.moussemagazine.it/magazine/zuzanna-czebatul-stanton-taylor-2022/
Space must be taken—it is not given.
Her work’s wide range of materials and final formats speak to her drive to make art that carries contradictory messages of ephemerality and persistence, creation and decay, fluidity and form in an effort to better approximate the precariousness of lived experience. Her influences derive from a strong sense of personal politics as much as an interest in subcultures formed online or in clubs, both spaces in which she is active.
melanie bonajo
As a bold and progressive female sculptor, who, with lots of humour and to great arrest, uses a juxtaposition of more classical masculine choices in terms of material (such as stone and glass) architectonics and subjects with a contrasting lightness, fluidity, a ticklish choice of color and more joyous, naughty queer counterpoint she effectively breaks the architectural DNA of stern masculine and modernist codes within the politics of space. This feels exciting, original and novel to me. She confidently and playfully teases her audience into taking a closer look at the burgeoning waves of evolution, the epilogue to our own anti-narratives within the realms of identity politics, anarchy, gender fluidity, economics and ecology.
As an inclusivity activist myself, to me she presents a voice of urgency around the revising of old modernist believes. How do institutions structurally meet the new contemporary? That this is a hot and important topic, we know with the MOMA - fueled by a new generation of curators no longer supporting a patriarchal, imperialist, sexist, white supremacist, capitalist system of archiving and selecting by discipline- closing it’s doors for 6 months to reflect on the way artists are represent, who is represented in a multicultural society and in what context.
wasserfiguren
inflatables
die skulptur als portal
transzendenz durch die skulptur
durch das objekt
durch das pink schauen
pink gaze
hyper femme fantasy
reality exists in a place unknown
and dreams exist within reality
new images will change their hearts and their forms
the power of imagination is the ability to create your own future
and the power to create your own flow of time
Ein Portal als Objekt, das die Fähigkeit hat, Realitäten zu verbinden. Eine zentrale physische Skulptur im Raum, die die Verschmelzung des Digitalen mit unserer Realität verkörpert. Sie verwandelt den Raum in eine immersive, hyperreale Erfahrung. Der Blick durch das rosafarbene, durchscheinende Herz der Skulptur in den Raum ist wie durch ein Telefon.
die skulptur als portal
transzendenz durch die skulptur
durch das objekt
durch das pink schauen
pink gaze
hyper femme fantasy
reality exists in a place unknown
and dreams exist within reality
new images will change their hearts and their forms
the power of imagination is the ability to create your own future
and the power to create your own flow of time
Portals as in objects that have the ability of connecting realities. A central physical sculpture in space, bodying the merging of the digital into our reality. Transforming the space into an immersive hyper real experience. Looking through the pink translucent heart of the sculpture into the space as if through a phone.
so strange
how something so artificial
can feel so real
so true
and reality so strange
so unusual
liquid words
flowing in time
its ok to edit yourself if photos
your image is altered every single time you're perceived anyway
dereality
examine material—and immaterial—objects
different types of relationships: The focus is connecting lines, entanglements, alliances, networks, or kinships and their underlying mechanisms; it explores encounters between the human and nonhuman, between the material and immaterial, between the organic and technical, and, last but not least, between places and times.
relationship: physical virtual ?
SADIE PLANT
https://www.youtube.com/watch?v=doL9mRMEUGw
min 15
luce irigaray
https://www.youtube.com/watch?v=gsObA5Cmfus
i never promised you a rose garden
1999
i learned early in life how aesthetics can manipulate people*
as an afab person growing up you experience first hand what kind of impact aesthetics have on your life, by being able to influence the people around you
we are conditioned to its standards
we can utilize the advantages that come with appealing to it
we can get away with so much, make our lives easier by becoming our own voyeur
everwatching ourselves from a third person perspective
always performing, appeasing, appealing to what we have learned is expected.
sacrificing being unsurveilleid in any moment for playing the game
everything in life is a game
should we not use anything in our power to excel?
*today i was writing in my notebook, and i made sure to make it cute, visually appealing. i added little sparkles and swirls around my writing. i remembered when i was in elementary school, and when we had to hand in homework, i made sure to make it extra cute, because no matter the actual content of the assignment, i understood that the teacher will give me a better grade, be more favorable if i put in this effort. as long as i can remember i used aesthetics to manipulate. from everything i did, to looks, to acts and sounds.
life is about performances and presentations around other people. What about when you’re alone in your room? There is no audience, no watchers, just you. Yet still, many of us find ourselves putting on an act. But for who?
The internal male gaze is defined as women viewing themselves through the lens of men. At all times, many girls are subconsciously performing for an audience that is not even there. This production we put on is a result of absorbing and internalizing the male gaze and what is truly desired by society.
entangled systems
protopia
A state of gradual progress toward utopia
cyber-nymph
pure idealist. This extends to A.I., she says. Why is everyone so gloomy about our cybernetic future? What if A.I. likes humanity? What if it winds up being all of our creative best and none of our violent worst? What would that look like? I suggest later via text that her proverbial glass is 60 percent full, and she replies: “Im glass 90% full.”
virtual haven
i only want it if it feels like this
BLISS
devirtualizing
revirtualizing
angels on my shoulders
how to abandon our screens for the real world
and the real world for dreams
spike art magazine about venice biennale 2022
Tishan Hsu’s (“I consider myself a cyborg. Google is my memory”) body-horror tables in which skin melts into screen and waxy faces come up for breath, unhappy with their lives in the pod
hotness is always gonna be threatened/seduced by coldness
by the virtue of it operating
it exists at the level of appearances
Piercing through the sculpture, the poem reads
dipped in soft pink light
you gaze upon
articles 2 read atm
bathing in the beaming rays
my roses bloom for you
red roses in my text
my liquid words
are flowing in time
away from me
everytime i get close to them
they disappear
dipped in the soft pink light
the purple moon above
is gazing down on me
the dream is ending
and its time to start anew
i feel reality melting away
the best way to contact me is to meet me in my dreams at 3am
I see you in my dreams quite often
so … this feels like the continuation of a dream
the dream is ending
its time to start anew
just relax and have fun
;)
tribally heart mit kristallen drauf
semantisieren
“Virtual Reality projects frequently promise experiences so realistic you won’t believe that you are in VR. I’m interested in the opposite” […]
these emerging technologies can be used to capture the abstract, the confusing, the hidden, the complicated (Claire Hentschker)
rematerializing the dematerialized
meet it with your body in the exhibition space
-big size
flocking (material zb 3d druck velvety machen)
temporality of a sculpture
experience of the work untethered from time
meeting the sculpture with your body
its not demanding your time but your presence and for your to experience and engage with it
you see my heart burning in the distance
notes from jasper sharp feedback 5.7.22
combining digital and physical, can't tell which is which
ehrlichkeit in den arbeiten haha
liminal space der feelings as transitionary period
-how digital media affect culture and society
notes
web aesthetics deals with the aestheticization of society and the global diffusion of web related forms
new media takes part in the underlying tendency in contemporary society:
the progressive aestheticization of reality and its main cultural expressions
when the web is located inside this sociocultural process, it becomes powerful, globally acting agent for aestheticization
i envision a continuous flow between the web and society
from victims of the web to active aesthetic subjects
i view aesthetic experience on the web as giving over of oneself to an aeshteic flow;
a flow that is fuelled by the logic underlying digital technology that increasingly encompasses contemporary existence
media culture needs to depart from america-centric orientation in favor of a molecularization of cultural and linguistic backgrounds
interpretation of aesthetic experience of the web
between form and content, optical and haptic perception
researching the forms of aesthetic expression encountered when inhabiting digital networks
set the grounds for a phenomenological observation of new media aesthetics
husserls formulation of phenomenology: he places among epoche a series of different options; suspending judgment of things in order to allow those phenomena that reach consciousness to be viewed as they are, free of preconceptions
rhizomatic interpretations of digital culture (deleuze)
“lines of flight” are to be found within rather than outside the rhizome.
The web has become the place where the infinite potentials of the present encounter a recombinant simulacrum. it is on the web that its inhabitants hope to find the wire that reconnects them to the web of narratives that encircle their everyday lives
the net as an entity that is anthropological: a network of individuals that relate to each other, or who have the illusion of doing so
y2k aesthetic
transparency
transparent plastic
deconstructing the black box?
showing whats inside
leaking through the fabric of my dreams
sadie plant
zeros+ones
notes
leaking through the covers - seeping past the boundaries - overflowing all classifications
reality - it's always yours <3
beyond the world
the dream is ending
its time to start anew
just relax and have fun
;)
online nobody knows youre
the body exists to verify ones existence
pink as a manifestation of the unconscious and a liberation from the need for realism
e-motions </3
https://www.titacicognani.love/the-mothership-hot-tub-1
super cool bathtub video artist love <3
which sits at the heart of her show
katharina daschner
glitter rain as queer resistance
wobbly spiegel für wasser fall anschluss
keep going, eternity is right in front of you
i feel like a stone
tumbling down a hill
too fast
like the internet, aesthetic is transmitting information
through signifiers and their influence on the people it can transport emotions via just experiences
by being in the space, experiencing the different senses with your body
𝔡𝔦𝔰𝔰𝔬𝔩𝔳𝔦𝔫𝔤 𝔞𝔫𝔡 𝔡𝔦𝔰𝔠𝔬𝔫𝔫𝔢𝔠𝔱𝔦𝔫𝔤
𝔯𝔲𝔪𝔦𝔫𝔞𝔱𝔦𝔫𝔤 𝔱𝔥𝔢 𝔱𝔥𝔢 𝔮𝔲𝔞𝔯𝔯𝔶
𝔪𝔞𝔯𝔦𝔫𝔞𝔱𝔦𝔫𝔤 𝔦𝔫 𝔪𝔶 𝔡𝔯𝔢𝔞𝔪𝔰
𝔲𝔫𝔱𝔢𝔱𝔥𝔢𝔯 𝔪𝔢 𝔣𝔯𝔬𝔪 𝔯𝔢𝔞𝔩𝔦𝔱𝔶
𝔲𝔫𝔱𝔢𝔱𝔥𝔢𝔯𝔢𝔡 𝔟𝔲𝔱 𝔠𝔬𝔫𝔫𝔢𝔠𝔱𝔢𝔡
𝔬𝔳𝔢𝔯 𝔪𝔶 𝔥𝔢𝔞𝔡 𝔟𝔢𝔶𝔬𝔫𝔡 𝔱𝔥𝔢 𝔯𝔢𝔞𝔩𝔪
𝔣𝔩𝔬𝔞𝔱𝔦𝔫𝔤 𝔞𝔴𝔞𝔶 𝔦𝔫𝔱𝔬 𝔪𝔶 𝔡𝔯𝔢𝔞𝔪𝔰
Transformation statt Kopie. Ein weiterer spannender Aspekt ist, dass es zwischen Werk und Betrachter keine Grenze gibt. Comics und Malereien sind fertige Artefakte, wir sehen sie uns an und denken uns den Rest. Ein Meme hingegen birgt immer die Einladung in sich, die Vorlage weiterzuge-stalten. Die Werkzeuge dazu sind frei verfügbar, das Handwerk schnell er-lernt. Und so macht das Meme die User zu einem zusätzlichen Faktor zwischen Konsument und Produzent, wie Me-dienwissenschaftler Marc Ries von der Offenbacher Hochschule für Gestaltung sagt. Dabei ist die Weiterverbreitung keineswegs nur das Nachahmen des Vorangegangen: „Die pure Nachahmung begnügt sich damit, die Kopie zu sein. Doch hier ist es keine Kopie, sondern eine Transformation."
Während die Sujets selbst einen Urheber haben, gelten die Memes als Allgemeingut. Dadurch entwickeln sie ein Eigenleben, entziehen sich bisweilen der Kontrolle des Urhebers. Comiczeichner Matt Furie hat mit „Pepe der Frosch" eine sonderliche Figur erschaf-fen, die im Laufe ihres Meme-Lebens von rechtsextremen Kreisen gekapert wurde. Entsetzt über diese Entwick-
notes from “producing futures”
christina gammatikopoulou
https://scholar.google.dk/citations?user=Jdqd_6sAAAAJ&hl=en
All in all, it is becoming clear that the internet is not an immaterial space: digitality rests on physical infrastructures; technologies require and consume material resources, bodies, and genders. They
"dividuate" subiects and leave residues in their wake.
That is a reality that the cyberfeminists, although their displays of technophilia can seem overeager from a contemporary vantage point, grappled with early on.
guan xiao
These works combine (artificial) plant parts and consumer goods with painted steel or brass components and seem to hail from a post-natural future. Reflecting on how deeply embedded our lives are in the culture and aesthetic of the internet with its infinite data streams, the artist also hints at the growing difficulty of drawing a distinction between artifact and natural reality: in her works, organic and synthetic materials alike are transmuted into amorphous and indeterminate beings that suggest the increasing intersections between virtual and real spaces. As totems of a sort, they mark the constant availability of consumer products of all kinds and point to their online representation. Rather than dwell on the mystical bond that once existed between man and nature, Xiao's art scrutinizes humanity's relationships with technology as well as consumerism.
Anna Uddenberg's (b. Stockholm, Sweden, 1982) female figures strike lascivious poses, sprawling on what might be daybeds or platforms, lithely bending over barstools, weaving their limbs into the straps and belts of a trekking backpack. Clad in skintight sportswear, their faces hidden behind their long blond hair, the women are nothing but toned and limber bodies, living only for the viewer's gaze. The works as such are characterized by fawless technical execution: Uddenberg models the elaborate pieces in clay, then makes fiberglass and aqua resin casts to obtain perfectly smooth surfaces. The artist's oeuvre taps into an art-historical discourse that goes back to the 1920s and 1930s, when (female) mannequins figured as (fragmentary) bodies in investigations into questions of representation, perception, and authenticity. Similar concerns animate Uddenberg's sculptures, which are stark reflections of the prevailing image of femininity in the neoliberal twenty-first century. As hypersexualized replicas of an ideal of beauty, they are pure surface, an achingly ironic exaggeration of femininity as molded by cult-like con-sumerism, the omnipresent images of influencers in social media, and the permanent availability of pornographic imagery and videos on the internet.1 Uddenberg unsparingly highlights the absurdity of this role model and the hopelessness of trying to embody it while retaining a core of individuality. As her female figures contort themselves into precast poses, it becomes impossible to tell where their bodies end and the object begins. The excessively stylized instantiation of sexist stereotypes draws attention to entrenched and unquestioned habits of seeing and inter-action, undermining the virtually universal obsessive quest for an ever more perfect body.
WHAT IS CYBERFEMINISM?
"Cvberfeminism's starting point is a belief in what would call very roughly the 'digital turn. Even though the digital turn does not erase old media, it has an effect on all of them," I wrote in 2004.9 The same idea underlies today's discourse of the post-digital. In the mid-1980s, Donna Haraway pointed out in A Cyborg Manifesto that our society and how we understand our bodies are shaped by an informatics of domination in whose lens bodies appear as text, or more specifically, as genetic or digital codes that can be rewired and programmed ad libitum. As Judith Butler also argued around the same time, bodies and genders are produced and materialized in performative fashion: through linguistic interpellations and physical practices and their repetitions. Each in its own way, these gender theories reflected and made sense of the prevailing perception that the world had become codable and that software and cyber technologies were the way of the future.
In the "digital turn," the world came to be seen as a vast set of information science problems. By contrast, now that we have entered the post-digital phase, we perceive it as a problem of restless matter. Reflecting this shift, art has shown a resurgent interest in materialities and inquired into their conjunctions with the digital
"It is A Cyborg Manifesto and its impact which marks the shift from feminism to cyberfeminism.
Haraway proposes in this key text the ironic figuration of the cyborg as a hybrid mixture of human being and machine, a cybernetic organism. She sees this cyborg as a symptom for the new conditions within a technological world, as well as an ironic political myth for female emancipation. Her text is 'an argument for pleasure in the confusion of boundaries' incorporated by the cyborg. And this is the crucial difference:
Whereas feminism claimed the appropriation of new technologies as tools for women's liberation, cyber-feminism promotes both the idea of becoming cybor-gian and the pleasures involved in it. In other words:
Technologies are no longer perceived as prosthesis and instruments for liberation which are separated from the body, but a merging of body and technology takes place. It is the concept of the technological body which is the medium for pleasure and liberation, and not the technological tool itself. In cyberfeminism, the utopian ideology of women's liberation is located in the body and gender, but this body is no longer what it was thought to be [...] It is a body which is conceived as a symptomatic body. "1 The cyberfem body is always
𝔴𝔥𝔬 𝔞𝔪 𝔦 𝔱𝔬 𝔡𝔯𝔢𝔞𝔪 𝔣𝔬𝔯 𝔶𝔬𝔲
𝔱𝔥𝔞𝔱'𝔰 𝔫𝔬𝔱 𝔞 𝔡𝔯𝔢𝔞𝔪
𝔱𝔥𝔞𝔱𝔰 𝔧𝔲𝔰𝔱 𝔞 𝔰𝔲𝔟𝔰𝔱𝔦𝔱𝔲𝔱𝔢 𝔣𝔬𝔯 𝔯𝔢𝔞𝔩𝔦𝔱𝔶
𝔱𝔥𝔢𝔫 𝔴𝔥𝔢𝔯𝔢 𝔞𝔯𝔢 𝔪𝔶 𝔡𝔯𝔢𝔞𝔪𝔰?
𝔟𝔢𝔶𝔬𝔫𝔡 𝔴𝔥𝔢𝔯𝔢 𝔯𝔢𝔞𝔩𝔦𝔱𝔶 𝔩𝔦𝔢𝔰
𝔱𝔥𝔢𝔫 𝔴𝔥𝔢𝔯𝔢 𝔦𝔰 𝔪𝔶 𝔯𝔢𝔞𝔩𝔦𝔱𝔶?
𝔴𝔥𝔢𝔯𝔢 𝔡𝔯𝔢𝔞𝔪𝔰 𝔢𝔫𝔡
𝔡𝔦𝔤𝔦𝔱𝔞𝔩 𝔢𝔲𝔭𝔥𝔬𝔯𝔦𝔞
hydrofeminism
As watery, we experience ourselves less as isolated entities, and more as oceanic eddies: I am a singular, dynamic whorl dissolving in a complex, fluid circulation. The space between our selves and our others is at once as distant as the primeval sea, yet also closer than our own skinthe traces of those same oceanic beginnings still cycling through us, pausing as this bodily thing we call mine. Water is between bodies, but of bodies, before us and beyond us, yet also very presently this body, too. Deictics falter. Our comfortable categories of thought begin to erode. Water entangles our bodies in relations of gift, debt, theft, complicity, differentiation, relation.
What might becoming a body of water ebbing, fluvial, dripping, coursing, traversing time and space, pooling as both matter and meaning give to feminism, its theories, and its practices?
https://joaocamillopenna.files.wordpress.com/2018/03/preciado-my-body-doesnt-exist.pdf
I wanted very much not to be where I was. In fact part of the trouble seemed to be that where I was wasn't anywhere at all. My life felt empty and unreal and I was embarrassed about its thinness, the way one might be embarrassed about wearing a stained or threadbare piece of clothing. I felt like I was in danger of vanishing, though at the same time the feelings I had were so raw and overwhelming that I often wished I could find a way of losing myself altogether, perhaps for a few months, until the intensity diminished. If I could have put what I was feeling into words, the words would have been an infant's wail:
I don't want to be alone. I want someone to want me. I'm lonely. I'm scared. I need to be loved, to be touched, to be held. It was the sensation of need that frightened me the most, as if I'd lifted the lid on an unappeasable abyss. I stopped eating very much and my hair fell out and lay noticeably on the wooden floor, adding to my disquiet.
https://www.goodreads.com/book/show/25667449-the-lonely-city
reality - its yours
its in your hands, it always was
ᑯ𝗂𝗏𝖾 𝗂𐓣𝗍ⱺ α𐓣𝗒𝗍ɦ𝗂𐓣𝗀
https://various-artists.com/godposting/
Intimacy and the Machine: Godposting – or: New Internet Esotericism
https://various-artists.com/girlblogger/
https://various-artists.com/kraken/
vulnerability
the divine spirit flows through those who just make shit up
https://www.spikeartmagazine.com/?q=articles/the-internet-is-forever-2023
parmaham
https://www.nowness.com/series/my-place-self-isolation-edition/parma-ham
https://www.parmaham.tv/agender
𝑜𝓃𝒸𝑒 𝒶𝑔𝒶𝒾𝓃 𝒾 𝒻𝑜𝓊𝓃𝒹 𝓂𝓎𝓈𝑒𝓁𝒻 𝓌𝑜𝓃𝒹𝑒𝓇𝒾𝓃𝑔
ruminating at the quarry
going down the hole
going in DEEP
pilgramgasse u2u5
THE BOREHOLE
its easier to work towards futures that we can imagine
what if work doesnt fit the canon anymore ??????????
transgressing your own canon
your own workflow
break with the old?
get into the new
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
notes aus dem buch
mediale emotionen
zur lenkung von gefühlen durch bild und sound
2005
bildmedien und emotionen in eng verknüpfter wechselwirkung
das lässt sich interdisziplinär analysieren und erzählen
affekt produktion und emotionale reaktion auf medien/kunst
transdisziplinäre missing links
fruchtbare synthesen
unzählige versuche seit der antike, der füchtigkeit, des schillernden von gefühlen durch klare definition beizukommen, haben ein panoptikum der verwirrung geschaffen
minimalistische definition:
emotionen als kurzzeitige reaktion des gesamten organismus auf distinkte ereignisse mit spezifischen veränderungen des verhaltens, der physiologie und des subjektiven erlebens, das von charakteristischer mimik begleitet ist
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
https://various-artists.com/immediacy/
Science fiction, to put it differently, that is more concerned with the next minutes rather than with the next millennium; that takes place in our cities and neighborhoods rather than in spaceships and on other planets; finally, at least according to our interpretation, science fiction that is primarily interested in existing practices, methods, and instruments of science and not in pondering their potential developments.
- The appeal of preestablished signifiers and the safety of the familiar
- The acceleration of the need to relive the past in late capitalism
- The importance of shared experience and feeling included
- The idea that feelings are facts, but only to the person who is feeling them
- The role of dreams and envisioning possible futures
- The tension between material reality and utopian dreams
gemeinsam agieren in dem raum
notes for artist statement
I asked myself how can I reveal, rather than replicate
Her artistic practice is situated at the borders between
Conceptually and technically, she uses the same aesthetics, codes, and communication patterns that users are familiar with from YouTube, Instagram, and video games.
Through screen interfaces and
who makes hallucinant, narrative installations, typically centred around film.
Conjured with a queer irreverence that is attentive to the power and politics of fantasy, these films perform carnivalesque explorations of abandoned yet grandiose landscapes.
practice examines the authorship of the ‘self’ within networked technologies
Her artistic journey unfolds
the visual representation of speculative theories.
HANNAH WORK ON YOUR ARTIST STATEMENT HERE!!!!! plssssssss
old statement
Hannah Neckel, based online as @cybervoid69, is a Transmedia Artist reimagining the future by merging online and offline worlds in aesthetic bliss.
Their multimedia exxxperiences seduce users into a dreamy hyper-space where the digital sphere of the internet and the physical world merge. The internet serves as a utopian place of longing, a fountainsource for the desire for liberation and community that manifests itself in her works, generated by an interplay of online and offline footage.
The physical space becomes an extended virtual reality, a place of refuge that confronts visitors with their own emotionality, creating a sense of hope for endless possibilities beyond the limitations of the physical world. The aesthetics of the internet spill into the space as if from a glass, overflowing and overlapping, merging with the surrounding like the layers of a Photoshop file. Creating an immersive experience playing into all senses of the users, transporting them to a vision of a utopian internet where boundaries are transgressed and the self is constructed and reconstructed
-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.
Hannah Neckel, based online as @cybervoid69, is a Transmedia Artist, Poet and Researcher reimagining the future by melting the utopian promise of the internet into reality. We need to be able to imagine - to make it real
She is exploring obscured socio-cultural codes within online and offline queer communities, with a particular focus on lesbian identity actualizing her research in installations, luring visitors into the fantasy, the traces of what used to be hidden reveal themselves. Prompting introspection by creating a space of refuge and connection, where desire, romance, and the longing for community intertwine. enveloping viewers in multisensory experiences that traverse the digital-physical continuum, challenging observers to reassess their emotional landscapes and envision an emancipatory horizon characterized by connectivity and freedom. Employing a research-driven methodology, Neckel transmutes discourses into tangible artistic expressions, manifesting as sculptures, videos, or installations that transcend conventional spatial confines, saturated with the visual language of cyberspace.
Their seduce users into a dreamy hyper-space where the digital sphere of the internet and the physical world merge. The internet serves as a utopian place of longing, a fountainsource for the desire for liberation and community that manifests itself in her works, generated by an interplay of online and offline footage.
The physical space becomes an extended virtual reality, a place of refuge that confronts visitors with their own emotionality, creating a sense of hope for endless possibilities beyond the limitations of the physical world. The aesthetics of the internet spill into the space as if from a glass, overflowing and overlapping, merging with the surrounding like the layers of a Photoshop file. Creating an immersive experience playing into all senses of the users, transporting them to a vision of a utopian internet where boundaries are transgressed and the self is constructed and reconstructed
general themes: what is hidden or visible, codes utilised by queer, specifically lesbian online and offline communities, making the utopian promise of the internet as a safe space for the queer community real, reimagining the future, desire for connection, romance, poetry, creating multimedia installations filling the gap between offline and online, often the works are too big for just one of these spaces to hold them, so they overflow into another realm, the practice is research based evolving essays into sculptures, videos or installations, immersing the visitors in the feeling
Hannah Neckel, also known as @cybervoid69, is a Transmedia Artist, Poet, and Researcher specializing in the exploration of obscured socio-cultural codes within online and offline queer communities, with a particular focus on lesbian identity. Through her immersive multimedia installations, Neckel interrogates the intersection between virtual and physical spaces, actualizing the aspirational dimensions of the internet.
Her oeuvre lays bare latent narratives, beckoning spectators into a liminal hyper-sphere where desires, romantic inclinations, and communal aspirations intersect. Employing a research-driven methodology, Neckel transmutes scholarly discourses into tangible artistic expressions, manifesting as sculptures, videos, or installations that transcend conventional spatial confines, saturated with the visual language of cyberspace.
By enveloping viewers in multisensory experiences that traverse the digital-physical continuum, Neckel prompts introspection, challenging observers to reassess their emotional landscapes and envision an emancipatory horizon characterized by connectivity and freedom.
####
i like how screenshots of really popular memes eventually get smaller and smaller as time goes on be ppl are cropping them just a bit tighter and using different aspect ratios when posting and then new ppl screenshot those and repeat the process, it's like the way a physical item starts to show wear and tear from being loved and used
###############
𝒃𝒍𝒖𝒓
thaw
𝖙𝖍𝖊 𝖋𝖊𝖒𝖎𝖓𝖎𝖓𝖊 𝖚𝖗𝖌𝖊 𝖙𝖔 𝖗𝖊𝖙𝖚𝖗𝖓 𝖋𝖗𝖔𝖒 𝖙𝖍𝖊 𝖋𝖔𝖌
𝒐𝒏𝒄𝒆 𝒂𝒈𝒂𝒊𝒏 𝒊 𝒇𝒐𝒖𝒏𝒅 𝒎𝒚𝒔𝒆𝒍𝒇 𝒘𝒐𝒏𝒅𝒆𝒓𝒊𝒏𝒈…….
im gonna drink your tears tonight
𝓈𝓁ℯℯ𝓅𝒾𝓃𝑔, 𝒾 𝒻ℯ𝓁𝓉 𝓎ℴ𝓊𝓇 𝒷𝓇ℯ𝒶𝓉𝒽 ℴ𝓃 𝓂𝓎
𝓁𝒾𝓅𝓈
between a dream and a dream
blur
what do we keep hidden
offenbaren
was?
expose
keep safe
exert
duality - binary
whats inbetween
thaw
in the eternal blur of the pond
the water washes over me
blurring the lines
between you and me
i can not tell where my body ends and yours begins
i feel like the lines of my body are melting away
i merge into you
melting
𝒊 𝒐𝒏𝒍𝒚 𝒘𝒂𝒏𝒕 𝒊𝒕 𝒘𝒉𝒆𝒏 𝒊𝒕 𝒇𝒆𝒆𝒍𝒔 𝒍𝒊𝒌𝒆 𝒕𝒉𝒊𝒔
i never thought it could happen
anyway
everytime i fall asleep
i dream of the water
and you
𝓈𝓁ℯℯ𝓅𝒾𝓃𝑔, 𝒾 𝒻ℯ𝓁𝓉 𝓎ℴ𝓊𝓇 𝒷𝓇ℯ𝒶𝓉𝒽 ℴ𝓃 𝓂𝓎
𝓁𝒾𝓅𝓈
youre always in my dreams
𝒊 𝒐𝒏𝒍𝒚 𝒘𝒂𝒏𝒕 𝒊𝒕 𝒘𝒉𝒆𝒏 𝒊𝒕 𝒇𝒆𝒆𝒍𝒔 𝒍𝒊𝒌𝒆 𝒕𝒉𝒊𝒔
in my dreams we were together
and then i woke up next to you
𝒐𝒏𝒄𝒆 𝒂𝒈𝒂𝒊𝒏 𝒊 𝒇𝒐𝒖𝒏𝒅 𝒎𝒚𝒔𝒆𝒍𝒇 𝒘𝒐𝒏𝒅𝒆𝒓𝒊𝒏𝒈…….
ⁱᵗˢ ᵃˡˡ ᵃ ᵇˡᵘʳ
in my sleep
in my dreams
i felt your breath on my lips
i only want it when it feels like this
melting my heart
its flowing out of me
melting into you
water entangling our bodies
leaking oozing overflowing
filling up the space between us
under the water
what lies beneath the blur of the waves
rivers of desire
embedded in the waves
crashing over me
—-----------------------------------------------------------
anyway
everytime i go to sleep
i dream of water
and you
in my sleep
in my dreams
i feel your breath on my lips
i only want it when it feels like this
melting my heart
melting into you
water entangeling our bodies
leaking oozing overflowing
filling up the space between us
under the water
what lies beneath the blur of the waves
i can not tell where my body ends and yours begins
were melting into one
rivers of desire
embedded in the waves
crushing over me
touch me with your fingertips
breaking through the surface
im reaching for your hand
its flowing out of me
to you
im drowning in my feelings
—---------------------------------------------------------------------------------------------------
duality with last video
yearning vs reality
water is between us but also of us
water = emotion
connecting us
ephemeral
making the feeling visible
NO BIOESSENTIALLISM ALLOWED HERE !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
https://shawnemichaelainholloway.com/
shes such an icon
+poet
online
as a diary
a space where you can express
your feelings
desires
with a mask
anon
water as a communal material
it has been in everyone and is going through us all
(I think I made you up inside my head.)
https://neuroticpoets.com/plath/poem/madgirl
i can not be a teenage girl
online forever
i wake up and realize
im doing the same things
as when i was 14
16
19
21
24
27
now
online im frozen in time
the internet is my soul
my diary
it doesnt age
i dont change
and i dont want it
i walk down the same street
the path
the same music in my ears
what is age even
i always wanted to be ambiguous
why does it come with dis- & advantages???
i want both, i am younger when i need to and older when im smarter LOL
getting older is hella cool
my brain is working so much better
https://forum.evageeks.org/thread/9293/Reis-Poem/
[From womb to 'wave-yard': The poetics of Water in Sylvia Plath's oeuvre]
https://pubmed.ncbi.nlm.nih.gov/31417002/
The act of deciding to look, of deciding that the world is not defined by how people see me, but how I see them."
sofia coppola
i am looking
where other ppl are looking is none of my concern
unbothered
casja von zeipel
i believed that my installations needed to surround you, not only visually, but also with noise, smoke and camouflaged
how can i possibly challange wings
endless source of desire
over the highway, we spit down on the cars in an effort to spead our cells into the world
i accept as many shows as i can, in cities where you spit on cars in an effort to be seen by girls waiting for the moment when a car stops short and offers a lift
i accept a public commission to put a sculpture in a roundabout, on the middle of nowhere. she stands thee like a photoshop effect in the vast landscape, almost as if i dropped her on my way to visit my grandmother, who lives close by. she says hi girl, by girl, see you later. you rotate around her, she turns away - hello, goodbye.
the process of creating self requires a continual openness to desires
https://bombmagazine.org/articles/2022/03/28/new-organisms-cajsa-von-zeipel-interviewed/
https://www.interviewmagazine.com/art/discovery-cajsa-von-zeipel
Violets have been associated with lesbian love since the 6th century, thanks to the work of the greek poet Saphho, from the isle of Lesbos. Much of her poetry centered around the relationships and love between women, who she often described as wearing garlands of the flowers and other plants.
Violets as a symbol of lesbian love rose again in 1926, when Édouard Bourdet’s play The Captive showed a female character sending another woman a violet bouquet. When the play led to an uproar and calls for boycott and censorship, some women wore violets to showings as a sign of support. The color of violets (and fellow purple-hued flowering plant, lavender) was also used as a derogatory way to describe gay or effeminate men in the turn of the 20th century: historian Carl Sandburg, for instance, wrote that Abraham Lincoln had “a streak of lavender” and “spots soft as May violets.”
Although the symbolism of the actual flowers faded with time, the pale purple color would come to represent LGBTQ+ empowerment in later years. In the 1960s and 70s, demonstrators and activists wore lavender during events that included a march to commemorate the Stonewall Riots; decades later after the 2016 presidential election, Gilbert Baker reworked his rainbow flag design to include a lavender stripe so that the flag would have “another color to represent diversity in the age of Trump.”
https://artuk.org/discover/stories/sapphic-sexuality-lesbian-myth-and-reality-in-art-and-sculpture
lesbians love frames
theyre always doing this shit lol
why???????????
new video work context:
depiction of female bodies/characters - critical approach
lesbian gaze
taking back the gaze in a WLW approach
one of admiration
how does this admiring gaze differ from a straight perspective
the characters are not referring to a specific position in this
they are both, the admirer and the admired
the viewer is put in both positions
in combination with lesbian poetry
so many beautiful poems
sibylla schwarz, sappho, shawne holloway
the lesbian canon “unforgetting”
fueled by the centuries of lesbian erasure
straightwashing their works
looking at them now again and reframing
and recontextualizing through the lesbian gaze
defining the signifiers
and rereading works through that
building ontop of the history that has not been washed away and shedding light on it
making it visible******
“Archives are often fragmentary, incomplete, or incoherent, mimicking the structure of memory itself.”
lesbian erasure even in queer spaces
very gay cis man centric tbh :/
“Unlike the cool, strategic intention of conceptual art, the turn toward archives is emotionally laden. This “archive of feelings” has an affective spectrum characterised by nostalgia, longing and melancholia.”
Judith Butler writes, “lesbianism is not specifically prohibited because it has not even made its way into the thinkable, the imaginable, that grid of intelligibility that regulates the real and the nameable.”
Zanele Muholi difficult love photography https://archive.nytimes.com/lens.blogs.nytimes.com/2014/06/09/photographing-a-difficult-love-in-south-africa/
we need to be able to imagine
to make it real
making the things i cant say
the things i cant express
the things i long for
desire
ruminating again…….
https://www.estrel.com/de/art/stories/interview-mit-cajsa-von-zeipel
interview mit cajsa
lesbian gaze
her displaying female figures bc shes a lesbian and has a different gaze
taking the female form and how were looking at it back from men
https://www.rightclicksave.com/article/pattern-anarchy-and-the-promise-of-old-media
article by shawne michelle holloway
In an age of screen-based mediation, there arises a desire for firstness — a sense of direct experience. This desire taps into the dreams of Web3, in which techniques to take away intermediary barriers are intended to close the gaps between oneself and others in a technological environment. The unstated mantra here may be to remove the middle — that which mediates — and you shall be free.
In media-based art practice, the desire for firstness sometimes gets equated with techniques that merge the worlds of the digital and the real by transforming the domain of the flesh into hyperrealistic, HD simulations, as if we all lived inside a cyberpunk video game. But this is not the only process artists consider when searching for a way to balance direct and mediated experience.
“aesthetics of accumulation,”
“vocabulary of loss using poetry and 3D objects that pile up and overflow.” To find and mark meaning through poetry is, like pattern recognition, a process of making sense of noise as well as the relations between lonely nodes that “pile up and overflow.” -shawne michelle holloway
“my dreams could take
advantage of me and no
one would tell me because
they don’t know where to reach me”
-Harryette Mullen
translating dreams to reality
what happens in the process
the glitch
what becomes distorted
process
online i felt safe to express
i could share, put myself and my work out there without thinking too much about who sees it and how they will react to it
i always liked shouting into the void
or whispering my secrets to her
online she is her own entity, she lives by herself, she doesnt need me with her
independent woman
i can create without myself
my works aim is to form community
to experiment with identity and expression
in the safety of my online space
theyre spreading around
out of the endless stream, floating
i also strongly believe in the online communities and sharing my knowledge, notes etc
so on my website i freely share my own publications, all of my notes since 2016 when i started making art seriously are public online and continuously added, also all of the important texts i read, interviews usw
(i dont believe in copyright, its against everything i stand for)
i get so much input, so much knowledge from my community, so i want to give back as much as i can
i want my website to feel like the old internet 1.0 when you clicked through random websites, taking you from link to link, the joy of discovering new things and community
i translate my experiences online in my installations
i love to make works that fully emerge the viewers, create a completely different world
so usually it turns into multilayered works, combining videos, sculptures, 3d prints that bring the digital elements into the physical, augmented reality, sound, found objects and footage
they are all in conversation, complementing each other and creating the experience
i try to find as many ways as possible to merge these worlds as closely together as possible
creating a space for the girls
its really visible who my target audience is, usually young girls are super drawn to the installations, they intrinsically get it, they stay with the works, spend time in the installations, do little photoshoots there, really experience the space how its intended.
my process usually starts with a period of research. theoretical texts are really important to me, so i try to find a lot of books, interviews and other material of topics im currently interested in. then i combine my findings into an essay
(some of these have been published)
and then i translate them into more emotional, intimate language in the form of a poem
poems are usually the starting point of the creative process and where the research flows over in the installations
the poems are usually shown in the form of wall prints, sculptures, in the videos, the exhibition text or accompanying publications
then i build the world around the poem, keeping in mind the emotions i want to evoke and what elements, symbols, materials, colors etc fit the concept
donezo
—----------------------------------------
short essay on archiving and the volatility of internet platforms and ownership
life online
this is where i post from
lately ive been thinking of the ephemerality of the internet a lot. of online spaces i inhabit and the content that is creating my world on there.
ive been extremely online for about the past 16 years or even longer and have witnessed so many different eras of the internet already.
when it first started (for me at least) in the late 2000s the proverb of the internet was one of fear of everlastingness, immortality even. “be careful what you post, it will be online forever”
this has come to be quite untrue, fortunately or unfortunately
a few months ago i was chilling with my (now) girlfriend on a date, and i wanted to play some music on my phone, since we were on a romantic cemetary date (yes were both goths), i intended to play unreleased lana del rey. i take out my phone, go to soundcloud and navigate to my playlist. i have to scroll all the way to the bottom, since ive had this playlist for over 10 years now. i’ve cultivated it, shes grown along side with me, i knew exactly which song followed which, which unreleased version, which leak. all of those songs have been harvested by the community, the fellow lana girlies. they fill the online world with these songs they’ve acquired from god knows where, torrents, tumblrs with direct links to google drives, shady websites, leak software etc….. they chose a cover picture, and uploaded the songs, putting in the work and dedication.
so there i am, wanting to play a song from my playlist.
right under the title it says “playlist - 13 songs 3:05:45” i am startled.
how can 13 songs be 3 hours long
hold on, there were more than 13 songs on there??? me panicking
i scroll thru and realize that most songs have vanished
yet the total playtime remains
as a reminder of what has been here, that is now gone
i almost feel mocked by the timestamp, as if she is making light of my misery
my playlist of over a decade has been erased
from one second to another, no reason given, just me staring at the remaining 13 songs with an alleged playtime of over 3 hours :(
nowadays were so used to depend on platforms for everything we do online. streaming services for music, film and videos, social media for our images and tiktoks. we take them for granted, not even thinking about their volatility, that they could be taken from us at any moment without our knowledge or influence.
the years i spent curating, cultivating, gone.
this led me to think about all the content lost over the years, reminisce even.
i have been an avid user of tumblr.com from 2009 onwards when i was 14. i remember the images i saw, the text posts, the music, the gifs. with the great censorship purge of 2017, most of the content was eliminated, and since then its nothing but a wasteland, a creepy, liminal shadow self of what it once was.
the ghostly structure, missing the content, nothing but a shell.
just like my wiped playlist.
and in this moment of mourning, i remembered that i have a hard drive somewhere
where i saved my favorite unreleased lana del rey songs once. a snapshot of a moment in time. capturing the preferred versions, leaks and songs.
but never updated, never used, just stored away somewhere
this loss caused a reaction inside of me
i longed to preserve, to archive, to conserve.
i miss so many things online
so i start to archive
to download
suddenly after many years i find myself on youtube2mp3 again
on soundcloud2mp3
i have to research new torrent sites
i highly disagree with copyright law
how do you even copyright and artwork
is it not its own entity, is it not a child of mine that i do not have ownership over, but i am just creating it and then setting it free upon the world?
how can i claim ownership
as an artist, i am often wondering about this issue, for me it is very clear, of course we only need this ‘protection’ bc of capitalism, this need to protect what is ‘ours’ and the fear of someone stealing it, claiming it as theirs, doing it ‘better’. sometimes i am wondering, what if anyone is reading through all of my notes, seeing all my wors, my concepts, everything and will make something better out of it? is that really so bad?
would that keep me from creating onwards? if not for financial struggles, is there any harm done?
so i dont think piracy is immoral, i am separating the art from the artist (lol)
just like how i, as my parents child, dont want to be associated with them in any way and often think of their questionable behaviours, i am still related to and influenced by them. just as my art work is always gonna be created through me, it then goes on to become its own being.
—---------
lana + water themes
You're in the wind/I'm in the water - cocc
I think we're like fire and water/I think we're like the wind and sea - brooklyn baby
I like that light that shines on the water/I love the waves that break on the shore - california(unreleased)
She's fighting fire by the sea - dragon slayer
Catch a wave and take in the sweetness // You're lost at sea/then I'll command you're boat to me again // the darkness the deepness - mariners apartment complex (contrasting with burning heart - fire theme)
All my friends tell me I should move on I'm lying in the ocean, singing your song - dark paradise
water as a pool of emotions
drowning in the feelings
being sucked down into the water, drowning
as freedom, liberation, vastness
as a connection between us 2
https://www.socratic-method.com/lana-del-rey/meaning-of-mariners-apartment-complex-by-lana-del-rey
—---------—---------—---------
cute accelerationism
https://www.dazeddigital.com/life-culture/article/61895/1/how-cuteness-took-over-the-world-somerset-house-hello-kitty
https://www.dazeddigital.com/life-culture/article/56132/1/cute-trend-drain-hang-bladee-marc-jacobs-heaven
……………………………………………………………………….
notes from sophie public dr thesis
ethico-onto-epistemology
to point at the inseparability of ethics, ontology and epistemology when engaging in (scientific) knowledge production, with scientific practices, and with the world itself and its inhabitants – human and non-human beings that intra-actively co-constitute the world (Barad, 2007, p. 90).
https://newmaterialism.eu/almanac/e/ethico-onto-epistem-ology.html
conatus = The conatus has been described by Spinoza as an inherent endeavor to continue to exist. Ethics III, prop. 6.
on the Internet, life is remediated through memes
sympoietic = becoming with
A meme emerges when previously unrelated sympoietic agents, such as an image and a line of text, come together. The logic of memetic processes such as object labeling, image manipulation or copypastas expose the underlying sympoietic mechanisms as cooperative, growing, and contingent. An agential understanding of memes also allows for an understanding of the history of digital cultures, where memes can take on the role of communicators facilitating the exchange of online communities. Often likened to an Internet language,5 memes give structure and vocabulary to communication while simultaneously restricting the flows of exchange, for example, through the creation of in-and-out-groups excluding certain communities. Finally, understanding memes in relation to users and platforms as a whole shines a light on how global phenomena are processed online.
—----------------------------------
𝐞𝐯𝐞𝐫𝐲𝐭𝐢𝐦𝐞 𝐢 𝐥𝐨𝐨𝐤 𝐚𝐭 𝐭𝐡𝐞 𝐦𝐨𝐨𝐧 𝐢 𝐭𝐡𝐢𝐧𝐤 𝐨𝐟 𝐲𝐨𝐮
𝒶𝓁𝓁 𝓉𝒽ℯ 𝓈𝓉𝒶𝓇𝓈 𝓅ℴ𝒾𝓃𝓉 𝓉ℴ 𝓎ℴ𝓊
all the stars lead me to you
darkforest collective book
mit joshua citadrella
https://darkforest.metalabel.com/dfc
—----------------------------------—----------------------------------—----------------------------------—----------------------------------—-----------------------
quick essay
sprinkle sprinkle feminism
comphet
getting defined over our oppressors constantly, existing in tandem with them and can not exist without
lesbian existence inherently decentering men, the male gaze, patriarchy
she has to be alluring, everything in life, every moment has to be a performance
to cater to the gaze, to fulfill a role
a girl is to perform, bc thats what they want us to do
but performance is dehumanizing, its not a real person its just a concept
while that may be a source of comfort, to play a role, to be a concept and not a person, it is robbing flinta ppl of an intricate part of human experience
you cant just be
youre only ever in relation to someone or something else
…………………………………
ever so often, i come across sprinkle sprinkle girl on my fyp, she is giving girls tips on how to win the game. The game of course is financial stability, promised to young girls by teaching them how to bag a wealthy man. That's the ultimate goal. I understand where this need comes from, this utopian dream of never having to worry about rent again, even living luxuriously, has been drifting further away from us year by year, and she is promising a way out. You just have to play the game! Its not even that hard, everybody can do it? And I can even tell you how: You just have to change the way you talk, what you wear, where you go, who your friends are, strategize your every move, dampen every desire, boundary you might have, basically just give up your personhood! its so easy! Just be smart and you won't have to suffer anymore! You can win at capitalism and patriarchy! You're really outsmarting them girl ;)
What does it even mean to be a person in these circumstances, how far removed are we from the human experience? Humanity becomes broken down to a single most significant factor. Economic Value. And the ways it can be extracted from our personhood is the only redeemable goal.
And the tool to reach this goal, marketed towards women, is seduction.
‘to be a girl is to perform’ can our personhood be reduced to a performance? if everything is performance why not optimize to gain financial stability? but is this really all there is to it?
Seduction in this context is not for the person seducing, she is not acting upon her desires, it is a transaction. She is not an active agent, not fulfilling her needs or wishes.
What will happen to us when everything becomes transactional, everything strategized, optimized, only acting upon things that will provide us with money?
Where is space for our desires, our wishes, our boundaries and fantasies in this?
Can we really separate these relationships, what influence has this on us?
Is teaching young woman and girls to give up personhood for survival really the solution to end stage capitalist dystopia? Is this how we want to imagine our future?
To me it feels like the last grueling force of capitalism.But removing yourself even further from you is exactly what capitalism wants from us.
If we truly want to escape the horrors, we have to realize the mechanisms that keep us from fully enjoying the human experience and reject them.
We are here to enjoy life, to find meaning in relationships, find love.
Not for profit. And not for sale.
Imagine a different future.
…………………………………
economical aspect the only worth
priorisierung der wirtschaft in allen lebensaspekten
—----------------------------------—----------------------------------—----------------------------------—----------------------------------—-----------------------
When you plant a fertile meme in my mind you literally parasitize my brain, turning it into a vehicle for the meme's propagation in just the way that a virus may parasitize the genetic mechanism of a host cell
girl online workshop
sophie publig + charlotte reuß
the girl as a symbolic category
trying on identity online
reclaiming being a girl
the girl as an identity complicit to consumerism
monetizable
bimbo feminism
reaction to girlboss movement - neoliberal
nihilistic approach, denying agency, subversion of agency
the girl as a medium
objectification through tech
reclaiming agency? potential?
passing thru algorithmic detection
circumventing censorship if u pose as a girl
fluidness of girl identity corresponding with internet
put on the persona of the girl to subvert expectations of femaleness
as a strategy
——————
anonymity - confession online
diary
assuming everyone online is a girl
depictions of girls online, via avatars, taking on a female(read) form
what is the position of the person posting
does it matter
what is the difference who is posting
what is the intention?
lesbian posting
—-------------------------------------------------------------------------------------------------
apprich Kurs
feminist new materialism
book -> New Materialisms Ontology, Agency, and Politics
posthuman subjectivity
agential realism
agential. = of, relating to, or expressive of an agent or agency
It includes an ontology (what exists in the world), an epistemology (how knowledge arises and manifests in the world), and an axiology (ethical issues that the world entails).
no essentialisation
always in flux
define agency as a relationship not something you have
everything is defined thru its relationship to one another
intra-action
in materialism with sculpture
material has as much agency as you making it
so its a collaboration between the material and u
https://www.blackquantumfuturism.com/writenohistory
https://grayarea.org/event/tuning-into-the-quantum-karen-barad-and-black-quantum-futurism/
jane benett
sara ahmed - queer phenomenology
Speculative Realism =/= New Materialism
"The approaches of new materialisms extend the capacities of agential and vital qualities to the nonhuman and the material, while the speculative realist approach questions whether an ontology of matter can realistically consider these concepts in the first place."
Kameron Sanzo, 'New Materialism(s),'
triple O
object oriented ontology
everything becomes an object
—--------------------------------------------------------------------------
book “vampires and violets - lesbians in film” andrea weiss
invisibility can foster visibility as well
each instance of invisibility seems to leave a trace, a trace of its absence (or repression)
faint traces and coded signs are especially visible to its lesbbian spectators
looking to cinema for these signs to create ways of being lesbian, form and affirm identity
color violet - long association, since 600bc sappho, her + lovers wore violet tiaras in their hair.
color ultraviolet, located beyond the visible spectrum
like lesbian history, invisibility
It is no coincidence that queer visibility occurred in tandem with the digital boom. Technology gives the once-lonely, atomized queer community a platform to collectivize and organize into a politically explosive force which was able to make gains such as the full legalization of gay marriage in 2015.
Google exposes repressed midwestern kids to a whole new vocabulary to express their sexual turmoils. Internet forums offer queer, especially trans folk, a space to
decorporealize — a concept featured in Immaterial — and overcome their somatic circumstances; since, online, people can escape the horrid trappings of the body and be judged solely by their spirit. In that sense, the technodigital world has been empowering for the queer community.
#room69
all digital work poems
i dont want reality
every time i get close it disappears
my heart is leaking through the fabric of time
——————
im reaching out for your hand
breaking through the surface
im reaching for your hand
shattering the surface
im reaching out for your hand
bursting?
-> reaching out character?
or more abstract sculpture….. hmmmmm
definitely with water LOL
queer aesthetics as great refusal
a queer aesthetic can potentially function like a great refusal because art manifest itself in such a way that the political imagination can spark new ways of perceiving and acting on a reality that is itself potentially changeable
queer futurity book notes
about bloch
concrete utopia, hope as a mode of function
He makes a critical distinction between abstract utopias and concrete utopias, valuing abstract utopias only insofar as they pose a critique function that fuels a critical and potentially transformative political imagination.* Abstract utopias falter for Bloch because they are untethered from any historical consciousness. Concrete utopias are relational to historically situated struggles, a collectivity that is actual-ized or potential. In our everyday life abstract utopias are akin to banal optimism. (Recent calls for gay or queer optimism seem too close to elite homosexual evasion of politics.) Concrete utopias can also be daydream-like, but they are the hopes of a collective, an emergent group, or even the solitary oddball who is the one who dreams for many. Concrete utopias are the realm of educated hope.
hope is anticipatory
the anticipatory illumination of art
hope as a hermeneutic (=method of interpretation)
critical utopianism offered at a moment when cultural analysis is dominated by an antiutopianism functioning as a poor substitute for actual critical intervention
a backward glance that enacts a future vision
philosophical mode of contemplation
potentiality is often located in the ornament (more info pls)
Unlike a possibility, a thing that simply might happen, a potentiality is a certain mode of nonbeing that is eminent (=present to a notable degree), a thing that is present but not actually existing in the present tense.