Review | political issue of b...

Generated on 2021-08-11 12:25:22

Result #1

political issue of bots where do these images come from? programming autonomy anthropology of images human weighing-artificial intelligence blend divergence x personality newsstand flow break immediate seizure what these images say about us banking as an instrument to inform "reality" gallery file atlas mnemosine infinite images newspaper, magazine, poster, booklet (publication media) we influence the "aesthetics" of bots or bots influence us in a way that the images dont. The series of drawings on display at the main gallery (all of the pieces in the show were done in 1990) makes the point more explicitly, as does the very publication of the drawings and posters, which makes them part of a series of works on paper. This is not to say that these arent valid examples of the genre; they are. But the important thing is to have noticed that they were done by an artist who has been doing photography and drawing since the age of three and who has a large knowledge base of drawing, photography, and photo-based art, and who has also been working as a programmer. His formal gifts are far more apparent than those of the typical computer-generated image maker.In the drawings, the elements are arranged in continuous rows. The series is called Progressions of the Mind, 1990–91, and each drawing is a series of steps in the process of generating a series of images. The process itself, the series of drawings, and the progressions of the mind are presented in the show as an argument for the inchoate intelligence of the human mind and the power of imagination. The lines of a page are like the lines of a sentence, the visual lines of a statement, the, or a number. The drawing is not a document of some sort, but an argument for the inchoate intelligence of the human mind and the power of imagination. The drawing, with its sequence of groups of figures in various states of mind, is not a document of some sort, but an argument for the inchoate intelligence of the human mind and the power of imagination. The drawing, with its sequence of groups of figures in various states of mind, is not a document of some sort, but an argument for the inchoate intelligence of the human mind and the power of imagination.

Result #2

political issue of bots where do these images come from? programming autonomy anthropology of images human weighing-artificial intelligence blend divergence x personality newsstand flow break immediate seizure what these images say about us banking as an instrument to inform "reality" gallery file atlas mnemosine infinite images newspaper, magazine, poster, booklet (publication media) we influence the "aesthetics" of bots or bots influence us as bots influence us as humans. These days, the multichannel media is a giant black hole, flooding the airwaves with thousands of channels of mass-produced news. Yet the subversive elements of media art, and the power of the postmodern critique that uncovers how they are used as instruments of control and surveillance, are no longer perceived as endemic. This is a good thing, because it means that the ways in which the media have been used to control and intimidate have not been underestimated. This exhibition, curated by Lee Ivers at the Institute of Contemporary Art in Boston, was an important step in that direction, offering an important new object lesson: to critically understand the relationship between media art and the power of images, and to recognize how those images have become tools for the manipulation of human behavior.This exhibition included recent work by artists who have experimented with the media, but whose practices are more closely related to the artists studio. They are paid to produce works that are critical of the mass media, and so, despite the fact that they tend to focus on the journalists and news editors who create and edit such images, they often have the art subject matter as their central concern. The exhibition included a number of work by these artists in collaboration with the Boston Cultural Center: an installation by Jared Beckley, and a documentary film by Sean Anderson, The New Models, which explored the feminist position of the art world. Beckleys installation, The Second Coming (all works 2007), consisted of a series of TV screens that were arranged in a gridlike formation, with one screen per viewer; the rest were filled with non-utopian television screens, some of which were linked to the grids and set them up to watch a different program every time the viewer got up and moved from one of the screen to the other. The work reenacted the power of the celebrities, the media, and mass media in a very direct way.

Result #3

Result #4

political issue of bots where do these images come from? programming autonomy anthropology of images human weighing-artificial intelligence blend divergence x personality newsstand flow break immediate seizure what these images say about us banking as an instrument to inform "reality" gallery file atlas mnemosine infinite images newspaper, magazine, poster, booklet (publication media) we influence the "aesthetics" of bots or bots influence us as viewers, and the publics relative emptiness to make any kind of critique, any kind of critical analysis, possible. There is no solution to the problem, no way to be critical of the propaganda machine; it all seems so familiar. The messages of these new images are so predictable that one is already questioning the role of the viewer. What is the point of being critical? the possibility of the viewer? To be critical? To be a democrat? To be a technocrat? Not a criticality that is mixed with a warmongering? The question is, What kind of critique is this? The viewer is not asked to make any kind of aesthetic judgment, but to let our attention be drawn to the way our cultural, technological, and moral imagination is always being bombarded with images of the most diverse cultures. And who will be able to see all of them? In the end, it is not so much a question of evaluating the images as of evaluating the propaganda machine, which is determined to convince us of its own power. What happens when a brain becomes accustomed to a lot of images, and a body becomes accustomed to a lot of information, and the old machine of images is not able to handle all the information? In a split second it slips and collapses, gets lost in the chaos of information. The social system collapses, and the brain is unable to handle the information. How does the viewer react? Does he or she adopt the position of the potential victim of a psy-chronic nightmare? Of course he or she is immediately influenced by the images. How do we criticize the machine? How does the viewer become a subject? Isnt that what bots do? The technical problem is the same as the problem of the viewer. The technology that creates the images is capable of producing images of the most diverse cultures and languages.

Result #5

political issue of bots where do these images come from? programming autonomy anthropology of images human weighing-artificial intelligence blend divergence x personality newsstand flow break immediate seizure what these images say about us banking as an instrument to inform "reality" gallery file atlas mnemosine infinite images newspaper, magazine, poster, booklet (publication media) we influence the "aesthetics" of bots or bots influence us, writes the author, a computer-trained psychologist, in the articles on display in his exhibition Banks, which takes its title from a (public) monograph by the Austrian philosopher Roland Barthes on the subject. Art is not a channel of communication between human beings and one another, but a medium in which the public is invited to participate. The exhibition, curated by Francesca Guzmán and Manuel Cuauhtémoc Medina, focuses on the dialectic of the art object, which is simultaneously a social network and an object of contemplation. And if bots and drawings are social images, they are also objects of contemplation. Through the medium of comics, the anthropologist Susan Cairncross writes, we can perceive that the most intimate of actions, the smallest gesture, is as much an act of communication as a gesture of love. This exhibition, entitled The Inevitable Present, and curated by the artist and curator Nicolas Carrion-Murayari, brings together works that capture the interplay of robots and humans. The result is an ironic, idealized image of the world, in which art is seen as the form of the universal communication between the outside and the human beings inside. The exhibition is an unintentional synthesis of video and art, but also a reflection on the human body, in which the body becomes a subject of fascination.The video Spanish Translation, 2007–2009, shows a woman translating a spoken text into Spanish, using the software to find words that are both obscure and familiar. The translation takes place in a room where an endless scroll of newspaper photographs is displayed, surrounded by a television set that shows a woman performing her task. It is the work of a bot, and it is the work of a human being, too. Through the software, the woman comes to the other side of the world and speaks English. She is always in control of her actions and can choose her words according to the possible responses of her viewers.