Fornax A

on Curating

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EMISSARY FORKS AT PERFECTION by Ian Cheng, live simulation and story, 2015-2016

Emissary Forks At Perfection takes place many thousands of years in the future, the volcano now a fertile Darwinian playground managed by an AI. During its post-mortem analysis on humankind, AI resurrects the remains of a 21st-century human celebrity into this unrecognizable world and sends Shiba Emissary, a canine superpet, to extract one final impression of man under stress.

Emissary Forks At Perfection is composed of two contradictory forms: a simulation of a Darwinian playground disturbed by an atavistic human; and a deterministic story of an emissary's emerging consciousness. Pushed together to occupy the same landscape, each form threatens to destabilize and mutate the other. Here, a story may escape its classical fixity and indefinitely procrastinate its conclusion. A simulation may find itself sculpted by narrative needs into sequences of controlled chaos. A sudden pattern of feelings may grow inside you, with or without you.

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~LOVE IS THE ETERNAL MOOD~

uon (OUEST098)

by UON

West Mineral Ltd. New York

~Malleable Musics & Conveyance through the Pneuma~

westmineral.ltd ( Huerco S.)

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“A quiet desert failure” by Guido Segni

filling the data centers of tumblr and leaving the desert behind. One post a time. Algorithmic performance, Website, Tumblr archive, 2015 - ongoing.

A quiet desert failure is an ongoing algorithmic performance by Guido Segni started in 2013 and publicly presented 2015 in the context of The Wrong -  New Digital Art Biennale. In its own way, it’s a monumental piece about internet contents, emptiness, time, storage, memory, oblivion and - ultimately - failure. I programmed an Internet bot to traverse the datascape of Google Maps in order to fill a Tumblr blog and its datacenters with a remapping representation of the whole Sahara Desert, one post a time, every 30 minutes. The whole performance will approximately take 50 years to be completed, but it is still not clear if the audience, the Google’s servers, the Tumblr archive or the Internet itself will last enough to see the end.

So, be patient, don’t hurry. The desert is coming.

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presso Sidi Kaouki

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La festa come “altra scena” dove costruire nuove forme - non capitalistiche, né consumistiche - di socialità, di intimità e di amicizia; dove inventare nuovi significati delle parole «gloria», «consumo» e persino del tanto vituperato «egoismo». Uno stare insieme godutamente “in perdita” - chiamato da Marx anche “coscienza, o orgoglio, di classe” - che magari ci aiuti anche a vedere più chiaramente la parte che noi stessi “sfruttati” abbiamo finora inavvertitamente giocato nella logica di questa assurda «religione economica» di cui siamo - tutti - al contempo le vittime e gli artefici.

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Since January 2015, the UN SDG Action Campaign has coordinated the United Nations Virtual Reality Series to bring the world’s most pressing challenges home to decision makers and global citizens around the world, pushing the bounds of empathy. The UN Virtual Reality Series shows the human story behind development challenges, allowing people with the power to make a difference have a deeper understanding of the everyday realities of those in danger of being left behind.

Building upon its mandate to amplify the voices of those who are often unheard, particularly the world’s most vulnerable, the project seeks to show the human story behind development challenges, allowing people with the power to make a difference have a deeper understanding of their world, and hopefully to act to make a difference. In addition to showcasing the VR experience at high-level UN meetings, the SDG Action Campaign is working with partners to create advocacy platforms, awareness and fundraising campaigns. By sharing these VR experiences the SDG Action Campaign is searching for partners who similarly hope to inspire change that improves peoples’ lives and creates the world we all want.

Through the use of high tech headsets, viewers are transported into another time and place as 3D images fill the full range of perspective and tracking technology moves in 360’ in lightning speed. The series will continue to address crises that threaten the livelihoods of vulnerable groups such as war, health epidemics and natural disasters, and every day global challenges such as climate change, pollution, and migration.

The Campaign has targeted decision makers primarily in the first phase of the Virtual Reality Project to spread awareness and create empathy; however there is great potential to do more.

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YOUR HOME, EVERYWHERE The future of global living

The nation-state is a relatively recent innovation, one that tethers belonging to borders and leaves the non-citizen out in the cold. Markets and property have propped up these fixed alliances, but as even they become increasingly immaterial, perhaps citizenship too can become more diffuse. If digital belonging takes not the shape of the earth, but rather of a cloud, might our living situations come to resemble the networks we project ourselves into? In this new technological age, the home rather than the now automated factory is increasingly a central site of production and borders become fraught sites of renegotiation. Christopher Kulendran Thomas and Annika Kuhlmann propose a new domesticity through a long-term project to develop a form of distributed home. Instead of either renting or owning, we could instead have a subscription model of housing to fit a world of constant nomadism. This new liquid citizenship, where homes are streamable and nationality unmoored, promises a revised kind of belonging beyond the constraints of government’s geography. Don’t miss “60 Million Americans” on DIS.art http://dis.art/60-million-americans

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What does DNA sound like? 01 STOP Sequences

What does DNA sound like? Using music to unlock the secrets of genetic code DNA acts as a template for the production of proteins in our bodies. A DNA sequen...

Sonification is the use of non-speech audio to convey information or perceptualize data. Due to the specifics of auditory perception, such as temporal and pressure resolution, it forms an interesting alternative to visualization techniques, gaining importance in various disciplines. It has been well established for a long time already as Auditory Display in situations that require a constant awareness of some information. This simple mononucleotide sequence is useful to understanding the sonification output and highlights the characteristic triplet note phrasing which is the basis of the subsequent auditory displays. Since the same codon motif occurs in each reading frame the same note is played on each of three instruments giving rise to a highly repetitive pattern. As each Stop codon (taa) is passed it causes an instrument to stop playing, the audio passage ends in silence. Read more ---- > http://dnasonification.org/

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The 4th Sense in VR..your-email1 {display:-webkit-inline-box;}VAQSO VR brings scent to Virtual Reality.Subscribe to our mailing list to learn more. Introducing, your 4th Sense..your-email1 {display:-webkit-inline-box;}VAQSO VR brings scent to Virtual Reality.

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d0kt0r0 and Daem0n.sc at Manchester algorave

live coding with SuperCollider, Daem0n.sc, a Godin guitar and a Behringer fuzzbox at the Manchester algorave (8th July 2014); screen capture and GoPro Hero3 ...

Algorave is made from “sounds wholly or predominantly characterised by the emission of a succession of repetitive conditionals“. These days just about all electronic music is made using software, but with artificial barriers between the people creating the software algorithms and the people making the music. Using systems built for creating algorithmic music and visuals, such as IXI Lang, puredata, Max/MSP, SuperCollider, Extempore, Fluxus, TidalCycles, Gibber, Sonic Pi, FoxDot and Cyril these barriers are broken down, and musicians are able to compose and work live with their music as algorithms. This has good and bad sides, but a different approach leads to interesting places.

This is no new idea, but Algoraves focus on humans making and dancing to music. Algorave musicians don’t pretend their software is being creative, they take responsibility for the music they make, shaping it using whatever means they have. More importantly the focus is not on what the musician is doing, but on the music, and people dancing to it. Algoraves embrace the alien sounds of raves from the past, and introduce alien, futuristic rhythms and beats made through strange, algorithm-aided processes. It’s up to the good people on the dancefloor to help the musicians make sense of this and do the real creative work in making a great party. Read more ----> https://algorave.com/

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Dökk

Dökk (‘darkness’ in Icelandic) is the new live-media performance by fuse* and the natural evolution of Ljós (‘light’). Dökk…

The post-anthropocentric urgency of recent years promotes a reconsideration of the judgment toward an opening to pre-rationalistic (pre-Kantian, pre-Cartesian) forms of knowledge of the world. The media historian and philosopher Sean Cubitt proposes a search/return to the ancestors – i.e. to a universal archetypal knowledge – whose knowledge is no longer linked to a personal and collective ritual directed to the preservation of memory, but is entrusted to the machines, inside which, he imagines, they are metaphorically enclosed, imprisoned.[2] From Africa, Greece, Asia, the Americas, through the study of the four major proportions (geometric, arithmetic, harmonic and golden), the science of our fathers has institutionalized over the millennia the codes of “measurement” of the harmonies of nature, of the micro and macrocosm.In ancient cultures, dance has represented a major instrument for contact, dialogue, knowledge of the sacred seen as a rationally immeasurable other-than-self. It does not seem a coincidence that on June 18, 2004 a large 2-meter statue, depicting Shiva Nataraja, the Cosmic Dancer who represents eternal energy while creating and destroying the Universe, was donated to CERN in Geneva by the Indian government.[3]These – and many other – starting suggestions gave rise to Dökk, the new live-media performance of fuse*: a multimedia immersive narration that tells about a journey into the unconscious, interpreted by the dancer Elena Annovi, in the constant search for a balance between light and darkness; a sequence of ten rooms/digital environments in succession forms a path composed of universes that materialise in space and mind and immediately dissolve, following a cycle where the end coincides with a new beginning. Dökk is the Icelandic word that means darkness, a reference to those cultures interpreting the absence of light as a metaphor of earthly life and of the perception of reality, seen as the shadow of a light that cannot be seen, but whose existence can only be guessed. It represents the natural continuation of Ljós (“light”), a performance created in 2014 and staged in some of the most important international festivals. Read more ---- > http://www.creativeapplications.net/environment/dokk-live-media-performance-by-fuse/

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Facebook’s Role in Data Misuse Sets Off Storms on Two Continents

American and British lawmakers called on Facebook to explain how a political data firm tied to the Trump campaign harvested private data from more than 50 million users.

Guess what??

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Novichok 🐛

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The Great Silence focuses on the world’s largest single-aperture radio telescope, located in Esperanza (Hope), Puerto Rico, which transmits and captures radio waves to and from the farthest edges of the universe. The site of the Arecibo Observatory is also home to the last remaining wild population of critically endangered Puerto Rican Parrots, Amazona vittata, who make their habitat in the surrounding Rio Abajo forest. Allora & Calzadilla collaborated with science fiction author Ted Chiang on a subtitled script that explores translation as a device to trace and ponder the irreducible gaps between living, nonliving, human, animal, technological, and cosmic actors. In the spirit of a fable, the subtitled story presents the bird’s observations on humans’ search for life outside this planet, while using the concept of vocal learning—something that both parrots and humans, and few other species have in common—as a source of reflection upon acousmatic voices, ventriloquisms, and the vibrations that form the basis of speech and the universe itself. 

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“Alice Springs, Central Australia Sound Atlas” a new release by Robert Curgenven with Chris Howden ❀  Listen/purchase: Alice Springs, Central Australia Sound Atlas by Robert Curgenven with Chris Howden

The recording stage for this sound atlas began in Alice Springs in Australia's Northern Territory following an invitation for Curgenven and Howden to realise a project for a series of events running 3-18 May, 2007, "Shifting Ground/Art Land Culture", an arts incubator in the desert town designed to produce engagement with the arid landscapes of Central Australia. Alice Springs has a population of 28,000 and is a remote yet urban town flanked by mountain ranges, situated 1500kilometres from the nearest coast. The sound atlas was realised through the collection of field recordings and associated data over an 8 day period covering 22 locations in Alice Springs and the surrounding MacDonnell Ranges. Curgenven & Howden’s project sought to survey the range of geographic, social and acoustic environments in a place characterised by an unusual mix of adajcent and encroaching urban and desert areas. Through the creative partnership of sound artist (Robert Curgenven) and statistician/ecologist (Chris Howden), additional data collected with the recordings was used to form a relational field/matrix in an effort to draw out latent connections between places/environments and their second order manifestations. Variables include: landform, dominant sound of the site (nominal); sound density of the recording, openness of the site with respect to infrastructure and landform (ordinal) These were combined with weighted variables: GPS (latitude, longitude and elevation); time of day of recording. Relations were determined between the sites/recordings for a layered sequence in a four channel performance or installation. The CD, RF001, is five tracks in an adaptation of this installation/performance. The recordings are unprocessed and taken directly from DAT. This application of a statistical analysis with the field recordings seeks primarily to explore non-linear relations within land and space as well as ontological and sociological issues arising from these. These issues are of particular interest when juxtaposed with ancient indigenous epistemologies concerning the land and the recently developing urban environment in this arid rangeland. Of secondary interest is the impact on the acoustic ecology of the region.