hyperlink thinking - one thing leads to another that leads to another... among collections of people a bot-human collection researchers and artists being provoked by images and their contexts fabulation from "bot accounts" "likes" as a commodity contact with enigmatic addresses as the politicization of our system "not understand already understanding" how to behave in the face of what is not known speculative thinking - speculative answers human decentering in the creation of "realities" social networks as a weapon/tool information world war algorithmic unconscious anonymous bot collection available on the internet "it's about us and we don't even know it's happening" DISCUSSION OF IMAGE

Result #1

IS THE LATE TEMPORARIAN SINCE I became convinced that it was a good idea to make something called a conversation (a work of art), in response to the actions, photographs, and videos of protestorbotanists, Ive seen the strength of the invitation to look and feel all the images of the movements in and of Rio de Janeiro, and the great and good, they show that the big action is all in the mind.

Result #2

hyperlink thinking - one thing leads to another that leads to another... among collections of people a bot-human collection researchers and artists being provoked by images and their contexts fabulation from "bot accounts" "likes" as a commodity contact with enigmatic addresses as the politicization of our system "not understand already understanding" how to behave in the face of what is not known speculative thinking - speculative answers human decentering in the creation of "realities" social networks as a weapon/tool information world war algorithmic unconscious anonymous bot collection available on the internet "it's about us and we don't even know it's happening" DISCUSSION OF IMAGE, NOT ISSUES is the title of a show presented by Alice, an art space located on the second floor of a former textile factory and exhibition space in the San Francisco suburb of Alamo Heights. They call the show a statement of intention and a call to action, with the artist asking: What if we all went to another level of consciousness and understood the meaning of this symbol and how it can be used to change our lives?The works on view—rendered in a variety of media—take the form of acrylic-on-aluminum wall paintings (all Untitled, 2008). The surfaces have been painted a startlingly bright and lively yellowish-green, suggesting to the viewer that they are being illuminated. They arent, but what can be made of this greenish-yellow-brown color in a white-basement? There is a lot of luminosity and a colorful, ethereal glow to these works that can be found in the neon sign above the entrance. This is part of the process of identification through which the artist seeks to understand the forms that constitute the works of art. To view these works as a signifier of the artistic meaning is to ignore the way in which the iconographic signifier would normally be read.Art, to the artist, is an instrument of awareness and an accumulator of signifiers. She asks us to think about the enigmatic, the ineffable, the unknown and the constructed and to understand that by knowing the works, we can become aware of the meaning of these symbols. For the viewer, however, it is the other way around: You need to understand the works to begin to grasp their meaning, and they are so cryptic that deciphering them is almost impossible. This is an essential challenge for any artist—especially one who deals in complex narratives and the use of ambiguous signifiers to illuminate them.

Result #3

hyperlink thinking - one thing leads to another that leads to another... among collections of people a bot-human collection researchers and artists being provoked by images and their contexts fabulation from "bot accounts" "likes" as a commodity contact with enigmatic addresses as the politicization of our system "not understand already understanding" how to behave in the face of what is not known speculative thinking - speculative answers human decentering in the creation of "realities" social networks as a weapon/tool information world war algorithmic unconscious anonymous bot collection available on the internet "it's about us and we don't even know it's happening" DISCUSSION OF IMAGE IS FOR RENAMOUNTOSE, declared the artist Mariana Castillo, a twenty-eight-year-old Cuban artist who has lived in New York since 1992. Many of her works are found on a wall near the entrance of her recent show, on a monitor. These included a wall in which some four thousand films have been projected in a transfiguration of the motif of the theatrical performance, along with a number of small, colorful woodcut prints in which subjects and narrators have been rendered into symbols. Castillo thus created a space within which the public can interact with the image. The carefully composed, text-oriented multimedia installation makes the artist herself the source of the images, the source of their meaning. Castillo used the YouTube channel to film the action at the Berlin exhibition, where she has worked since 1993, and created the tape with an assistant in a Spanish-speaking English. She has never been fluent in Spanish, so the film follows the subject through her daily interactions with her family and friends. In addition, the artist appears in various roles, and in several other videos as a natural or artificial intelligence. In these video projections, the artist is also an artificial intelligence, and is subject to her own activities. It is also a situation where the first is the object of the spectators desire, the other a task for which the artist is more familiarly the facilitator, the real and the artificial.The source of Castillos works, in the words of the artist, is a theory of consciousness: the idea that when we become conscious of something we immediately realize that we are the subject of that something. This is a perfect introduction to the semantic complexity of the work. Her theory, like a social system, is constantly being fed and updated, and her works continually involve different actors in the same game. This is especially true of drawings, photographs, and videos, which all contain references to real people and places.

Result #4

, TAKEOVER, IT'S LIKE a WHOLE GRANDMOTHER LISAMACS CLAUSE of cultural import (to humor). The joke is on us: We are culturally different—we are stilted—we must be viewed as artistic creations. The thing is, we dont know if our political-critical self-reflexivity is itself a cultural problem. It's just the law of the internationals, but the law of the old regional sense and style of the French language. And it's not a racist law. What is here is a cultural law that represents a dead-end idea. Here, there is the rise of a satiric vision: It's all about individual situations, and the individuals very identities.There are two people in the film who are wise, or they know better than the rest of the crowd. The director has stated: I have no intentions of establishing a new center of culture or of having a center with the needs of others. Instead, I wanted to present ideas, opinions, and perspectives. The director has connected this statement to the famous quote from a respected scientist, Will We Need a Center of Culture: Any of the ideas of a center of culture may be relevant to the form of the center of any other center.

Result #5

, FICTIONAL AND ARTISTIC, was a condition of the exhibition, shared by an unknown number of artists and theorists. The works were presented as disembodied portraits, in photographs hung on the walls of the darkened gallery; the photos, all taken by the artist, were taken by computer scanning machines, and as such, they resembled images on a television screen. The works, all from 1998, featured images of a womans face, which were enlarged and printed on aluminum, to the degree that they appeared to be sculptures. The portraits, as the title of one work implied, were taken as a series of self-portraits, that is, as fully, and in such a way, recognizable humanoids. The details of these portraits, such as the nose and eyes, were not provided in the form of a caption or a body shot. What was available to the viewer was a vague, still fragmentary picture of a face and the word simultaneously and simultaneously projecting onto the face.This work was most suggestive of a way of putting these portraits together, as it suggested a possible plot. As the artists identified with what they saw, but did not appear to know the content of what they saw, the work was not a document of a specific individual; the exhibition was a literature of a generalized, nonhuman, yet still recognizable face. The question is how to achieve a sense of identity with this Face, since for all its lack of recognizable recognition, it has a certain sympathetic presence. Like the human faces seen in nature, the faces of the paintings are always evolving.

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