I Was Raised on the Internet

exhibition

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gaysexistheanswer Gif  https://knowyourmeme.com/photos/637242-gay-porn-as-reaction-images 

Due to the accessibility and trending nature of the web, Internet porn has transformed the way we view our bodies and intimacy. On Tumblr specifically, users have created gifs of gay porn to apply it to daily life like stubbing one’s toe, completely removing it from its context.

Starting December 17th, Tumblr is removing all adult content on the platform due to a child pornography incident, which caused its mobile app to be removed from Apple’s App Store. 

Source: Omar Kholeif. I Was Raised on the Internet, The Museum of Contemporary Art, Chicago. 2018. Print. 

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Anthony Levandowski Way of the Future Church: Humans United in support of AI, committed to peaceful transition to the precipice of consciousness, 2017  Webpage  To join, visit: http://www.wayofthefuture.church 

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Supasorn Suwajanakorn, Steven M. Seitz, Ira Kemelmacher-Shlizerman Synthesizing Obama: Learning Lip Sync from Audio, 2017  Single channel video, 8 min https://www.youtube.com/watch?v=9Yq67CjDqvw

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Audrey Lee Google, Validate Me, 2017  2 Screenshots, Google

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Rachel MacLean  Again and again and again, 2016  Digital Video, 3 min 17 sec  https://vimeo.com/186250022

From RANDOM ACTS: “Again and again and again” continues [MacLean’s] supersaturated satire with a look into the land of data-addicted monk-like figures and dance-crazed rabbits, all played by Maclean.

Source: https://vimeo.com/186250022

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Trevor Paglen 1. 187: Japan-US Cable System NSA/GCHQ-Tapped Undersea Cable Pacific Ocean, C-Print, 2016 2. 167: NSA-Tapped Fiber Optic Cable Landing Site, Miami Beach, Florida, US, C-Print, 2015  3. 186: Under the Beach (Tumon Bay, Guam), C-Print 4. 185: NSA-Tapped Undersea Cables, North Pacific Ocean, C-Print, 2016  5. Documentation of NSA-Tapped Fiber Optic Cable Landing Site, Miami Beach, Florida, US, 2015

From TBA21: These photographs of coastlines point to the places where undersea cables connecting the European and American continents meet the mainland and are tapped by the NSA for the purpose of surveillance. Maritime maps visualize the locations of fiber optic cables to prevent ships from colliding with them.  

Source: https://www.tba21.org/journals/article/trevorpaglen 

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Sam Lavigne and Tega Brain The Good Life, 2016 Email, Simulator Experience The Good Life: https://enron.email/about

From the Simulator: The Enron email archive is a corpus of more than 500,00 emails, written between 158 senior executives of the Enron corporation during the last years of the company’s operation. In March of 2003, following revelations of Enron’s spectacularly corrupt business practices and subsequent demise, these emails were deemed public domain and released online by the Federal Energy Regulatory Commission (FERC). This was the first release of an email database of this size, and it remains one of the only large public domain collections easily accessible online. As Finn Brunton, author of Spam: A Shadow History of the Internet, observes "The FERC had thus unintentionally produced a remarkable object: the public and private mailing activities of 158 people in the upper echelons of a major corporation, frozen in place like the ruins of Pompeii for future researchers.”

The corpus has since become a uniquely valuable linguistic resource for computer scientists who have used it to train spam filters and other natural language machine learning systems. This dataset, which was generated by a group of mostly white male corporate criminals, is in our lives in ways we don’t understand and haven’t considered.

Source: https://enron.email/about

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Kyle McDonald (director and producer); Jonas Jongejan (developer) Exhausting a Crowd, 2015 Interactive Color Film, Cross-platform; 720 min Interact with the site, here: http://www.exhaustingacrowd.com/birmingham 

From IDFA: George Perec’s 1974 experimental literary work An Attempt at Exhausting a Place in Paris records observations of details that normally go unnoticed. Exhausting a Crowd does something similar, but this process has now been automated. The result is an absorbing tableau vivant of crowds at Piccadilly Circus in London; users can provide as many “tags” as they want containing observations.

Source: https://www.idfa.nl/en/film/35167690-7923-4c6a-b077-57fb82f8524a/exhausting-a-crowd

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Ingrid Burrington 1,033 Objects, 2014 Defense Logistics Agency data and webpage http://1033objects.com/

From the MCA: Ingrid Burrington’s online work 1,033 Objects draws attention to a system that is so massive it is hard to envision—a US government program that provides police departments around the country with excess military equipment. Burrington’s website randomly pulls 1,033 items from the program’s extensive online repository of data, which was made publicly accessible in 2014. As the artist explains, 1,033 Objects gives you “just a glimpse of this really large thing. If you try to take on the whole totality of the thing, you might actually miss the point.”

Tip for interacting: Refresh the page a few times to see the various items our government has for sale.

Source: https://mcachicago.org/Publications/Websites/I-Was-Raised-On-The-Internet/Artworks/Ingrid-Burrington-1033-Objects-2014

Burrington, Ingrid. 1,033 Objects. I Was Raised on the Internet, June 23-October 14, 2018, The Museum of Contemporary Art, Chicago. Online. 

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Bogosi Sekhukhuni  Consciousness engine 2: absentblackfatherbot, 2014 2-channel video installation; color, sound; 3 min 33 sec https://vimeo.com/290421156

A conversation between two avatars representing Sekhukhuni and his estranged father. The two recite real and mundane conversations that happened over Facebook Messenger. Eventually, the artist's father blocked him on the app.

Sekhukhuni, Bogosi. Consciousness engine 2: absentblackfatherbot. I Was Raised on the Internet, June 23-October 14, 2018, The Museum of Contemporary Art, Chicago.

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Thorne Brandt AGOD (Acronym for animated gif of the day), 2012 Organic video, single channel; 5 minutes https://vimeo.com/43162372

From the Artist: An organic horror movie about the terror of entropy. It is organic video in the sense that it has no solid state. A layer was added onto this video every day for three years, and continues to be updated for exhibitions. I considered the completion of a daily animation part of a meditation practice. Currently, a new layer is added onto this video after every exhibition, like a stamp on a passport. The same version of this video will never be exhibited twice.

As the video continues to grow in visual complexity, the form itself retains less actual meaning. The evolution of the video allows me to witness the experience signal being lost in noise during a process that is similar the dripping and splattering of an action painting.

The inevitable entropy of the aging mind parallels the decay of the accelerating universe and the speed of information in the digital age.

Source: http://thornebrandt.com/posts/agod

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Thomson & Craighead (Jon Thomson and Alison Craighead) More Songs of Innocence and of Experience, 2012 Single channel video; 2 min 58 sec https://www.youtube.com/watch?v=pG3ZL0pszA4

For more karaoke, visit: https://www.youtube.com/user/songsofinnocence100/videos

Thomson & Craighead. More Songs of Innocence and of Experience. I Was Raised on the Internet, June 23-October 14, 2018, The Museum of Contemporary Art, Chicago.

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Olia Lialina  One Terabyte of Kilobyte Age archive, tagged dogs, 2011 - ONGOING Medium screenshot; 800 x 600 pixels http://dogs.geocities.institute/

From the Artist: As you are reading this, now, the chances that you’ve ever heard about Web 1.0 are getting smaller every month. The chances your dog, cat, or hamster doesn’t need you to share its pictures and sounds online are getting higher every day. 

I’m sure that if you return to this text ten years from now and see the screenshots illustrating it or read the quotes above, you on’t be surprised by dogs showing off their pages or posts. Theoretically some sort of Alexa would be able to do it already today, automatically photographing your pet, streaming it live, translating its barking into words and whatever. 

This is the reason I am writing here, descendants: to tell you that these dogs were not dogs but people who spent a few weekends learning how to to make a webpage, and it as so exciting and so fun that the also made them for their dogs. People, not dogs, not AI, were making decisions about URLs, links, navigation, layouts, color pallets, and content.

In the beginning of the third millennium, things got more complicated. To make, update, and keep a web page online became unaffordable for non-professionals. People had to decide between having a dog (a family, a job, a real life) and having a webpage. The decision was painful, traumatic. 

Being unable to make pages for their own dogs, webmaster found solace in sharing pics of someone else’s cats.

Source: Excerpt from Olia Lialina on page 101 from Omar Kholeif. I Was Raised on the Internet, The Museum of Contemporary Art, Chicago. 2018. Print. 

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Tabor Robak  Rocks, 2011 3D Imaging  http://archive.rhizome.org/artbase/54024/

From Rhizome: In his 3d composite of imagined stones, Tabor Robak explores symbiotic relationships between man, machine, nature and intent. The 198 stone renderings which are compiled onto one plane, display a tension between man's imagination and the innate capabilities of his tool. The rendered stones range from absurd abstractions of other worldly precious gemstones to crude forced misrepresentations of common pebbles we've kicked down dirt roads in our cliche youths. It is this polarization between 'real' and 'fake', 'honesty' and 'fantasy' which is at the crux of the work; the shortcomings and beauty of mankind's attempt to represent the handiwork of God. 

Source: http://rhizome.org/art/artbase/artwork/rocks/

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Jon Rafman Kool-Aid Man in Second Life, 2008 - 2011 Art “Sim” (Simulation), Human Participation, Second Life http://koolaidmaninsecondlife.com/

Schedule a tour by contacting: [email protected]

Second Life is a free, virtual, online world launched in 2003. Users create avatars and navigate the world through exploration, interaction with others, or participation in both individual and group activities.

Promo Video: https://www.youtube.com/watch?v=sQ2x50mBAGk

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Jon Rafman 9 Eyes, 2008 - ONGOING Google Street View, Photography http://9-eyes.com/

From Net Art Anthology (Rhizome): Nine Eyes of Google Street View is both an archival project and a conceptual meditation on the state of photography in a time of automated imagemaking on a massive scale. In 2008, Jon Rafman began to collect screenshots of images from Google Street View. At the time, Street View was a relatively new initiative, an effort to document everything in the world that could be seen from a moving car. A massive, undiscerning machine for image-making whose purpose is to simply capture everything, Street View takes photographs without apparent concern for ethics or aesthetics, from a supposedly neutral point of view. Rafman conducted a close reading of Google Street View and began to isolate images from this massive database, publishing them on blogs, as PDFs, in books, and as large C-prints for gallery exhibition. In so doing, he reframed them within longer histories of photography and painting, raising questions about the meaning and function of these images and their implications for artists and image-makers.

Source: https://anthology.rhizome.org/9-eyes

About Google Street View: Google Street View was introduced as a feature of Google Maps in 2007. In the street view that we know today, a user can drop in on a given street almost anywhere in the world and explore stitched together panoramic images. In 2007, Google offered only a selection of streets in the United States and slowly expanded their coverage over the years.

Street View images are captured by a fleet of cars outfitted with a pole with 9 cameras at its top, which photograph their surroundings—hence Rafman’s project title, Nine Eyes of Google Street View.

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Hasan M. Elahi  Tracking Transience, 2002 - ONGOING Six Screenshots, Photography, Website 2448 pixel × 1394 pixel  http://elahi.umd.edu/track/

From ACM SIGGRAPH: An erroneous tip called into law enforcement authorities in 2002 subjected Hasan Elahi to an intensive investigation by the FBI and after undergoing months of interrogations, he was finally cleared of suspicions. After this harrowing experience, Elahi conceived “Tracking Transience” and opened just about every aspect of his life to the public. Predating the NSA’s PRISM surveillance program by half a decade, the project questions the consequences of living under constant surveillance and continuously generates databases of imagery that tracks the artist and his points of transit in real-time. Although initially created for his FBI agent, the public can also monitor the artist’s communication records, banking transactions, and transportation logs along with various intelligence and government agencies who have been confirmed visiting his website.

Source: https://designing-knowledge.siggraph.org/wp/2018/02/21/tracking-transience-4/