APPROXIMATELY 800cm3 OF PLA — Exhibition Catalog

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The exhibition catalog for APPROXIMATELY 800cm3 of PLA, curated by Gabriel Menotti at last year’s Center for 21st Century Studies conference on The Ends of Cinema (May 3-5, 2018 at University of Wisconsin-Milwaukee) is now online.

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Among the pieces featured was DataGnomeKD1.stl, a generative/deformative 3D-printed garden gnome that Karin Denson and I made a couple of years ago in the context of a larger project at the Duke S-1: Speculative Sensation Lab. (You can check out our publication here.)

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Thanks to Gabriel Menotti for putting together this playful show!

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Michael Richards: Winged

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The other day I promised (or threatened) to reactivate this blog for things other than announcing talks, publications, etc. It remains to be seen how much time I will actually devote to this, but my thought was anyway that I should reclaim the time I waste on social media (especially Facebook). Accordingly, why not post just the pictures I would otherwise be sharing there here instead? Of course, these are not just any pictures…

These are from the moving show Michael Richards: Winged, which is currently up at the Stanford Art Gallery (but ending this week, so hurry if you plan to see it!).

Michael Richards, whose work powerfully probes race in American culture, tragically died in the September 11, 2001 attacks on the World Trade Center, where he was working in his studio on the 92nd floor of Tower One.

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The show was recently an Artforum Critics’ Pick.

Check it out if you can!

 

Plastic Dialectics: Community and Collectivity in Japanese Contemporary Art — Miryam Sas at Digital Aesthetics Workshop

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What do we mean when we speak of “collectivity,” collaboration, and community? How have artists and theorists in Japan questioned and created experimental practices that reframe these terms, so crucial to discussions of the arts today? Sas will reflect on issues of collectivity and assemblage as manifested in Japanese contemporary art, drawing examples from 1950s art theory, late 1960s intermedia art, 1970s site-specific photography events, and post 3-11 sculptural installation. Through site-specific critique and new modes of engagement with local space, artists in each of these distinct moments engage in a subtle but powerful rethinking of the frameworks and practices of collectives past and present.

At the next meeting of the Digital Aesthetics Workshop, Miryam Sas, Professor of Comparative Literature and Film & Media at UC Berkeley, will discuss Plastic Dialectics: Community and Collectivity in Japanese Contemporary Art. As we have throughout this quarter, we will meet on Tuesday, Dec 4, from 5-7 at the Roble Gym. RSVP to deacho@stanford.edu – we expect there will be a paper that we will pre-circulate this weekend.

Sas studies Japanese literature, film, theater, and dance; 20th century literature and critical theory; and avant-garde and experimental visual and literary arts.  She is the author of Experimental Arts in Postwar Japan: Moments of Encounter, Engagement, and Imagined Return  (Harvard, 2010); and Fault Lines: Cultural Memory and Japanese Surrealism(Stanford, 2001).  Sas is currently working on a book on media theory and contemporary art in Japan, Feeling Media: Infrastructure, Potentiality, and the Afterlife of Art in Japan, for which she was awarded a President’s Research Fellowship in the Humanities (2017-18).  She has published numerous articles in English, French, and Japanese on subjects such as Japanese futurism, cross-cultural performance, intermedia art, butoh dance, pink film and Japanese experimental animation.

On Display: Immemory, Soft Cinema, After Video

About two years ago, the exhibition On Display: Immemory, Soft Cinema, After Video at Bilkent University in Ankara brought together projects by Chris Marker, Lev Manovich, and the contributors to the “video book” after.video — including the collaborative AR piece “Scannable Images” that Karin Denson and I made. Recently, Oliver Lerone Schultz (one of the editors of after.video) brought to my attention this “critical tour” of the exhibition, which takes the form of a discussion between Ersan Ocak and Andreas Treske. It is audio only, and you might need to turn up the volume a bit, but it’s an interesting discussion of video and media art.

(See here for more on after.video. Also, I should note that the AR on “Scannable Images” is currently not working due to the ephemeral business models of AR platforms these days, but I hope to port it over to a new platform and get it up and running again soon!)

Let’s Make a Monster — Exhibition at Shriram Center for Bioengineering and Chemical Engineering

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Works from the course “Let’s Make a Monster: Critical Making,” which I co-taught this quarter with my art practice colleague Paul DeMarinis, are currently on display in the Shriram Center for Bioengineering and Chemical Engineering at Stanford University. The show, which officially opened today, is up through Friday, June 8.

We are particularly excited to take this work across campus and show it in the context of a space devoted to cutting-edge engineering work, where we hope that it provokes thought and discussion about the transformations of technology, experience, and life itself taking place in Silicon Valley and elsewhere. Thanks especially to Prof. Drew Endy for his help in facilitating and making this show possible.

Here are just a few glimpses of the work on display.

Nora Wheat, Decode (2018)

Hieu Minh Pham, The Knot (2018)

Raphael Palefsky-Smith, Brick (2018) — more info here

David Zimmerman, Eigenromans I-III (2018)

Jennifer Xilo, Mirror for Our Upturned Palms (2018)

Jackie Langelier, Creepers (2018)

Out Now: ETC Media 110

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I am proud to have a piece on “Pre-Sponsive Gestures” and the work of French media artist Grégory Chatonsky included in the new issue of the Montreal-based ETC Media. Looks like a great issue, and happy to be in such good company!

CURRENT ISSUE // 110
GRÉGORY CHATONSKY: APRÈS LE RÉSEAU / AFTER THE NETWORK

Issue 110 of ETC MEDIA is dedicated to Grégory Chatonsky, who has curated the form and content of this special issue. A Montreal resident for the last ten years, the artist is a pioneer of net art, founding Incident.net in 1994, and an unflagging explorer of the relationships between technology and anonymous existence. In this issue, the artist and a few other friends, artists, philosophers, art historians, and art critics reconsider the last two decades of experimentation, a time in which the world drastically changed through the widespread use of the Internet to reach a digital omnipresence that heralds a near extinction. Divided into 3 sections—“infinitude,” “hyperproduction,” “without ourselves”—ETC MEDIA becomes a platform for navigating in our era and gaining a better understanding of a future whose portents remain deeply ambivalent—promising and threatening all at once. Rather than being reduced to trendy notions often misunderstood by the contemporary art milieu, the concepts of post-digital, accelerationism, and speculative materialism constellate a world in the process of perishing and being born.

Collaborators

Grégory Chatonsky
Eve K. Tremblay
Pau Waelder
Bertrand Gervais and Arnaud Regnauld
Shane Denson
DeForrest Brown Jr.
Goliath Dyèvre
Pierre Cassou-Noguès
Erik Bordeleau
Nora N. Khan
Dylan Trigg
Pierre-Alexandre Fradet
Jussi Parikka

Frankenstein@200

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Happy to be on the steering committee for Frankenstein@200 — a year-long series of events taking place at Stanford in 2018. I’ll be participating in a number of ways, including  talks and several courses related to Frankenstein, among other things. I’ll post details here in due time. Also be sure to check out the project website, which is still under construction, but which is already chock full of announcements and constantly being updated.

The year 2018 marks the 200th anniversary of the publishing of Mary Shelley’s novel Frankenstein. The novel is eerily relevant today as we face ethical dilemmas around appropriate use of stem cells, questions about organ donation and organ harvesting, as well as animal to human transplants. Additionally, the rise of artificial intelligence portends an uncertain future of the boundaries between machines and humans. Frankenstein@200, will be a year-long series of academic courses and programs including a film festival, a play, a lecture series and an international Health Humanities Conference that will examine the numerous moral, scientific, sociological, ethical and spiritual dimensions of the work, and why Dr. Frankenstein and his monster still capture the moral imagination today. This project will be sponsored by the Stanford Medicine & the Muse Program in partnership with the Stanford Humanities Center, the Stanford Arts Institute, the Office of Religious Life, the Vice Provost for Teaching and LearningStanford Continuing Studies, the Cantor Arts Center, the Department of Art & Art History, and the Center for Biomedical Ethics.