[NetBehaviour] aesthetics examples ... forked from : Re: Accelerationist aesthetics

Pall Thayer pallthay at gmail.com
Fri Apr 29 15:59:13 CEST 2016


I love those NASA posters and actually have one hanging on my wall!


On Fri, Apr 29, 2016 at 3:04 AM Rob Myers <rob at robmyers.org> wrote:

> On 24/04/16 03:22 AM, Annie Abrahams wrote:
> >
> > I just watched Ruth's work again, I like the reflexion it brings, how it
> > articulates all these times.
>
> Yes it increases our ability to reflect on and dare I say reason about
> this. Which is Accelerationist-y. It's a very eloquent work however one
> looks at it.
>
> > What did I get out of the examples Rob gave in his article? They are
> > almost all art, just art, as far as I can see. Objects, you can show and
> > sell. They function mostly in the Artworld. Holly Herndon and probably
> > also Morehshin Allahyari & Daniel Rourke seem to be a bit different in
> > the sense that they also engage with other domains and feel "whole".
> > They reach out.
>
> This is an interesting contrast that I'd like to unpack a bit. :-)
>
> The "After Us" magazine cover, "On The Necessity of Art's Exit From
> Contemporary Art" book cover and Holly Herndon album cover are graphic
> design there to illustrate products rather than be presented as art in
> themselves.
>
> Of the images of artworks in the article...
>
> "Acceleration" incorporates imagery from the computer simulation of a
> solar neutrino event at Sudbury Neutrino Observatory. It was drawn in
> pen and ink, to resist any accusations of techno-fetishism.
>
> "Cybersyn Control Room" is the mock-up of an environment intended to
> help respond to the needs of a transitioning socialist economy.
>
> "Final Machine" contrasts Louis Althusser's work with a CIA
> indoctrination lecture and the script of Miami Vice.
>
> "Index: Incident In The Museum" is part of a Marxist critique of the
> artworld as a site of class struggle.
>
> "The Promise Of Total Automation" has been curated to provide different
> perspectives on its subject.
>
> The "Xenofeminism" GIF is a playful but conceptually dense detourned
> image of feminine artificiality, power and order.
>
> The "Additivism" image is again quite compact - art, Cthulhu, global
> warming, 3D printing and oil in a single coherent image.
>
> And careful web searches indicate that the entities named in O(rphan)
> D(rift>)'s "Hybridized" video have long since escaped it.
>
> So at the level of *content*, these all reach further to varying degrees.
>
> That they contrast with more participatory or performative art
> illustrates a paradox of political art - *form* can be more effectively
> political than content.
>
> I'd argue for the political role of form in these works as well. But the
> fact that despite this they can all be contained by the contemporary
> artworld (even Cybersyn's control room was the subject of an art show)
> indicates just how difficult seeing beyond its confines will be. What
> knowledge could be sufficient to achieve this?
>
> > Please diversify examples ...
>
> I don't think it's a good one, but... On the level of propagandising for
> Left Accelerationism, I think something like these NASA posters might be
> an example of how to make the idea of a specific better future seem
> possible -
>
> http://www.jpl.nasa.gov/visions-of-the-future/
>
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-- 
P Thayer, Artist
http://pallthayer.dyndns.org
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