At the Limits of Perception and Cognition @atthelimits-blog - Tumblr Blog

Gorgeous and weird, lichens have pushed the boundaries of our understanding of nature—and our way of studying it.

The guide, created by analyst Robert Szucs, 31, from Birmingham, shows every river basin represented by a different colour, which is contrasted with a dark, black background.

#fascinating new map shows river basin globe different colour

Les mouvements du liquide en vagues dessinant un ruban ondulant à sa surface, renvoient aux sentiments profonds qui parfois agitent nos esprits. L'installation…

“It Is Time to Think the Anthropocene! A Manifesto. What could be the meaning of a scientist engaging in art? What could be his or her motivation? Why such an imperious feeling, as if touched by a magic wand and relinquishing all free will, as if obeying a command to explore and physically expose flesh and blood to slings and arrows—from beneath the armor of scientific proof? I have been wondering about this for a long time: Whence does this acute sense of urgency and this intimate conviction that scientific outreach to the general public is mostly awkward and inadequate originate? The question accompanies the intuition that we, scientists, should reveal the other side—dark and bright, shadowy and sublime, the side we do not master or even understand, but where true progress and scientific breakthroughs happen—and the need to end our soliloquy, to allow the story to be told by the public, in an inversion of the flux that would then permit public “inreach” and input to be injected into science, almost as an enrichment. The work I have been conducting within the art collective Labofactory, with Anaïs Tondeur, the duo HeHe and several other artists, aims not to demonstrate scientific phenomena, assign proof, or invite the public to join a scientific journey to discover facts, but to suggest a different point of view: an unsettling transgression, an uncomfortable simile, a physical experience, a metaphor of physics that makes use of scientific imagination to reinvent our perception of the world and question its relative and fragile truth. In the Fluxus installation with Labofactory, thin, transparent wave tanks are envisioned as silent, soft drums. The artistic narration then becomes a score ruled by the physical properties of the drums, their resonant notes, attacks, and vibratos building a visual fantasy with inverted materiality : the only visible matter being the water that remains transparent while the cold fog rises into the air above the interface.”

Das „Dokumentationszentrum Zukunft“ hat in Hamburg nach Resten des zukünftigen Nationaldenkmals „Walhalla 2“ gegraben. Die Ergebnisse präsentiert eine Ausstellung.

Horror, fashion, and the end of the world ... the undercurrents of thought that link nihilists, philosophers, Jay-Z and True Detective.

Das Dokumentationszentrum Zukunft forscht an der Herstellung und Lagerung von Zukünften.

Confide

Since its inception the Dokumentationszentrum Zukunft has developed into one of the most trusted providers for the assembly and storage of future. Through cutting-edge methods our specialists are able to develop and implement mid- and longterm solutions in the fields of EXTRACTION/MANUFACTURE as well as SCULPTING/DISPLAY. More than fifty partners from both the public and private sector have given us their trust, a rapid development which has recently been acknowledged by putting the Dokumentationszentrum Zukunft on the list of the 100 most disruptive businesses.

Conspire

In recent years political access to future as a ressource has been limited to only a few agents, disagreaable troglodytes advancing a political vision unworthy of discussion. The Dokumentationszentrum Zukunft sees itself as a disruptive player in the game of history, as the metaphorical sabot in the wheels of reality, as an attempt to come up with a back answer to tasteless oracles. It switches the screwdriver of deconstruction for the archeological multitool and the hammer of iconoclasm for a principle of careful speculation.

Consolidate

After a highly successful pilot-phase in the years of 2014/15 the Dokumentationszentrum has grown steadily. Since 2016 a second headquarters in Berlin allows us to facilitate a cross-polination between the Dokmentationszentrum and globally active initiatives like PARA INC. With the newly founded KASSANDRA-RESEARCH-HUB the Dokumentationszentrum has now access to an intellectual incubator with international standing. Here, at the intersection between applied prognostics and contemporary art, selected fellows are to blaze new trails into the undergrowth of the future.

Nietzsche: On Truth and Lies in a Nonmoral Sense

“Once upon a time, in some out of the way corner of that universe which is dispersed into numberless twinkling solar systems, there was a star upon which clever beasts invented knowing. That was the most arrogant and mendacious minute of “world history,” but nevertheless, it was only a minute. After nature had drawn a few breaths, the star cooled and congealed, and the clever beasts had to die. One might invent such a fable, and yet he still would not have adequately illustrated how miserable, how shadowy and transient, how aimless and arbitrary the human intellect looks within nature. There were eternities during which it did not exist. And when it is all over with the human intellect, nothing will have happened. For this intellect has no additional mission which would lead it beyond human life. Rather, it is human, and only its possessor and begetter takes it so solemnly—as though the world's axis turned within it. But if we could communicate with the gnat, we would learn that he likewise flies through the air with the same solemnity, that he feels the flying center of the universe within himself. There is nothing so reprehensible and unimportant in nature that it would not immediately swell up like a balloon at the slightest puff of this power of knowing. And just as every porter wants to have an admirer, so even the proudest of men, the philosopher, supposes that he sees on all sides the eyes of the universe telescopically focused upon his action and thought.

It is remarkable that this was brought about by the intellect, which was certainly allotted to these most unfortunate, delicate, and ephemeral beings merely as a device for detaining them a minute within existence. For without this addition they would have every reason to flee this existence as quickly as Lessing's son. The pride connected with knowing and sensing lies like a blinding fog over the eyes and senses of men, thus deceiving them concerning the value of existence. For this pride contains within itself the most flattering estimation of the value of knowing. Deception is the most general effect of such pride, but even its most particular effects contain within themselves something of the same deceitful character. [...]”

Neom: The City of the Future is Huge, Hyper-Tech and on the Map. “Neom is the world’s most ambitious project, a city of unprecedented scale, in Saudi Arabia, made of many cities operating as an independent economic zone built by robots, drone friendly and with traffic regulated by smart cars, unlimited resources, a mecca for engineers and dreamers in robotics and solar power. A global hub for trade, innovation and knowledge, but especially supportive of all religions and determined to eliminate extremists. Here are the visions of the leaders and the (rich) companies that are investing in it. October 2017.“ - ExpovistaTV

NEOM Saudi Arabia plans to build a mega city on the foundation of transhuman idealism and pure capitalist dynamics. This promotional video is trying to convince the rest of the world that this is the best of futures.

Éric Alliez (Kingston University, UK, and University of Paris 8, FR)

On Contemporary Philosophy and Art: Towards a Diagrammatic Critique of Aesthetics

It is less a matter of trying to produce a philosophy of contemporary art than of maintaining a position in-between Art and Philosophy so as to introduce an oscillation between them, a new pulsation passing between contemporary art and contemporary philosophy. We will seek to show how the diagram, in the form of a diagrammatic thought, can be mobilised as the probe-head of a contemporary art, the concept of which it helps to construct by distinguishing it from the aesthetic regime of art and the formal analysis that subtends its all too generic constitutive indetermination.

DREXCIYA or becoming transparent, translucent, transmaterial (in German)

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