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Archive for the ‘Internet’ Category

Superficial Identities in Emerging Æsthetics

In Art, Image, Internet, Myth, Society on December 4, 2009 at 5:06 pm

Laura Brothers, Danger Dialogue

Who are you? Who cares? With proper self-branding, not only will you find out who you are, you will make the right people care, opening up a slew of the right opportunities specifically tailored for you. Maximize marketing potential and get the type of work and respect one deserves.

::Excerpt, www.artofselfbranding.com::


In his new project, Santiago Vernetti invites each of us to redefine “selling out”.  Repackaging commodified party culture in Los Angeles to make it appear palatable to intellectual scrutiny, Monsieur Vernetti’s images of lost children slide down our corroded psychic arteries easier than a Caramel Macchiato at Starbucks.

The superficiality of a youth culture obsessed with AND TRAPPED BY an oversaturation of images, readily available for consumption, causes excessive narcissism and a preoccupation with oneself (not to mention an unpleasant feeling of self-consciousness when one realizes that one is being watched or observed, the feeling that “everyone is looking” at oneself, i.e. paranoia).  This leads to a state of constant performance in the struggle to secure a public identity.  Private identity has dissolved giving rise to self-branding and the art of discrimination.  In laymen terms, what Facebook pictures do I choose to associate with myself?  How do I craft a profile that accurately reflects the identity I am trying to sell?

But if all is performance than EDS and FB could be seen as historical documentation of a never-ending, continuous spectacle.  Mr. Vernetti gives us each front row tickets to the Fall of the Times New Roman Empire.  His website gives public access to a fun house of seemingly perverted mirrors.  It is only after a deeper glance do we see the truth: each picture is a portrait of Dorian Gray.

Party photography on the internet as vehicle for the dissolution of celebrity // or // a hypocritical exercise that participates in the creation of celebrity albeit an illusory one // or // things I go to, and the people I see there as platform to launch a moonlighting career // or // just something to pass the time… ::Santi Vernetti::

…this time however I come as the victorious Dionysus, who will turn the world into a holiday…Not that I have much time…  ::Nietzsche, Letter to Cosima Wagner::

Indeed, as reported in his mythic death/rebirth:  unable to recognize himself in the vague and distorted reflection produced by the mirror, Dionysus nods his head in a vain search for his own image and identity.  The Titans interpret this action, in its telling motions and gestures, as his consent to be sacrificed. They kill and dismember him, and then proceed to boil and broil his flesh. After which they party.  Dismemberment can be unserstood psychologically as a transformative process.  It is original unity submitting to dispersal and multiplicity for the sake of realization in spatio-temporal existence.  Party Photography as a dissolution of celebrity is a psychological transformation of a non-event:  The Autonomous Zone:

Stephen Pearl Andrews once offered, as an image of anarchist society, the dinner party, in which all structure of authority dissolves in conviviality and celebration…  The media invite us to “come celebrate the moments of your life” with the spurious unification of commodity and spectacle, the famous non-event of pure representation.  In response to this obscenity we have, on the one hand, the spectrum of refusal and on the other hand, the emergence of a festal culture removed and even hidden from the would-be managers of our leisure. “Fight for the right to party” is in fact not a parody of the radical struggle but a new manifestation of it, appropriate to an age which offers social networking sites as ways to “reach out and touch” other human beings, ways to “Be There!”

Pearl Andrews was right: the dinner party is already “the seed of the new society taking shape within the shell of the old” (IWW Preamble). The sixties-style “tribal gathering,” the forest conclave of eco-saboteurs, the idyllic Beltane of the neo-pagans, anarchist conferences, gay faery circles…Harlem rent parties of the twenties, nightclubs, banquets, old-time libertarian picnics–we should realize that all these are already “liberated zones” of a sort, or at least potential TAZs. Whether open only to a few friends, like a dinner party, or to thousands of celebrants, like a Be-In, the party is always “open” because it is not “ordered”; it may be planned, but unless it “happens” it’s a failure. The element of spontaneity is crucial.

The essence of the party: face-to-face, a group of humans synergize their efforts to realize mutual desires, whether for good food and cheer, dance, conversation, the arts of life; perhaps even for erotic pleasure, or to create a communal artwork, or to attain the very transport of bliss– in short, a “union of egoists” (as Stirner put it) in its simplest form–or else, in Kropotkin’s terms, a basic biological drive to “mutual aid.”

::Hakim Bey, T.A.Z.::

Primitive / Occult Revival in Modern Æsthetics

What is clear now is that the West’s fascination with the primitive has to do with its own crises in identity, with its own need to clearly demarcate subject and object even while flirting with other ways of experiencing the universe.   ::Bell Hooks::

We find ourselves in an uncertain state.  We seek structure and security.  This mediated world increasingly produces feelings of alienation and loss.  In our desperate attempt to understand our own nature, we seek the company of others. Obsessed with the material reality of the flesh we long to touch one another.   The intimacy once conferred by community and religion in tribal life has dissolved into a state metaphysical restlessness.  We travel from city to city but all is the same.  Italo Calvino recognizes that, “arriving in each new city, the traveler finds again a past of his that he did not know he had:  the foreignness of what you no longer are or no longer possess lies in wait for you in foreign, unpossessed places.”  What we look for is value and meaning.  “What is the meaning of life?”  The question cannot be answered in this form because it confuses objective, abstract meaning with subjective, living meaning.  In this case, it is an actual or possible derivation from sentience, which is not associated with signs that have any original or primary intent of communication.  Occult imagery, with its emphasis on the unknowable and its use of highly potent symbols allows exploration without limitations.

Laura Brothers, Robo Pop Float Void

Accidental Transhumanist Art: CAPTCHA

In Image, Internet, Language, Literature, Technology on November 22, 2009 at 4:27 pm

A CAPTCHA or Completely Automated Public Turing test to tell Computers and Humans Apart.  Captcha is a type of challenge/response test used in com  puting to ensure that the response is not generated by a computer.  You may know it from those deliberately distorted or occluded images you see when signing up for online services.  Because other computers are unable to solve the CAPTCHA, any user entering a correct solution is presumed to be human. Thus, it is sometimes described as a reverse-Turing test because it is administered by a machine and targeted to a human, in contrast to the standard Turing test that is typically administered by a human and targeted to a machine.  There is an irony in humans using computers to create a test that distinguishes humans from computers.

You can create your own here.  

What fascinates me is the use of CAPTCHA and reCAPTCHA as an unintentional art form.    Something characteristic of this current era is the appropriation of memes and internet phenomena in modern art.  More specifically, CAPTCHA art is a historical record of what is like to live a human life in our culture today.  Upon searching for artwork, I came across this tattoo.  What may seem at first as a symbol for our computer-mediated life is also a validation for all that is truly human. It is a declaration that this flesh has passed the test and is not a machine.

In fact, what I learned is that the old scramble method of CAPTCHA has been replaced with the two-word combination method in a global effort to further human knowledge.

About 200 million CAPTCHAs are solved by humans around the world every day. In each case, roughly ten seconds of human time are being spent. Individually, that’s not a lot of time, but in aggregate these little puzzles consume more than 150,000 hours of work each day. What if we could make positive use of this human effort? reCAPTCHA does exactly that by channeling the effort spent solving CAPTCHAs online into “reading” books.

The book pages are being photographically scanned, and then transformed into text using “Optical Character Recognition” (OCR). The transformation into text is useful because scanning a book produces images, which are difficult to store on small devices, expensive to download, and cannot be searched. The problem is that OCR is not perfect.  reCAPTCHA improves the process of digitizing books by sending words that cannot be read by computers to the Web in the form of CAPTCHAs for humans to decipher. More specifically, each word that cannot be read correctly by OCR is placed on an image and used as a CAPTCHA. This is possible because most OCR programs alert you when a word cannot be read correctly.

That’s right.  Each time you solve one of the reCAPTCHA challenges correctly, you are unknowingly participating in the digitizing of old NEW YORK TIMES articles that were printed before the digital age.  And so you may delight in the knowledge that those tedious puzzles are not merely validation tools, but also accidental poetry and a massive unintentional social conservation project.