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hirshhorn.si.edu/bio/hirshhorn-debuts-new-acquisitions-ab...
In âSafe Conductâ (2016), acquired just last year, Ed Aktins creates a dystopian digital scene. Staged in what is half an airport security checkpoint and half an organ bank, an avatar endlessly pulls the skin from his face to reveal, again and again, the next layer of artificiality.
hirshhorn.si.edu/bio/what-absence-is-made-of/
What Absence Is Made Of also explores the personal and cultural anxieties surrounding advancements in computer animation, avatars, and artificial intelligence, as well as technology that makes the body obsolete.
www.washingtoncitypaper.com/arts/museums-galleries/blog/2...
Ed Atkinsâs âSafe Conductâ (2016), a new museum acquisition, shines in What Absence Is Made Of. This nervous computer animation watches a man place parts of his body through airport security. âSafe Conductâ tugs at the irrationality of global security rituals, like a fever dream inspired by Radiohead lyrics (but set in this case to Maurice Ravelâs classical BolĂ©ro). The three-channel installation, displayed on a triangle of suspended screens, looks as though it should be hanging over a baggage claim. (It would feel right at home in the Hirshhornâs lower-level media show, too.)
It rained the entire weekend at Pickers Retreat at Spring Creek. The Pickers Retreat is a family friendly weekend event with bands of bluegrass, old-timey, country, folk and Cajun varieties. Palmer, Alaska, July 15th - 17th 2022.
Shot with iPhone 8 on July 17, 2022
âSome people read palms to tell your future, but I read hands to tell your past. Each scar makes a story worth telling. Each callused palm, each cracked knuckle is a missed punch or years in a factory.â âSarah Kay
WASILLA, ALASKA
Seen at Crema Coffee House and Pastries. Shot and edited with iPhone 8. In monochrome.
hirshhorn.si.edu/bio/hirshhorn-debuts-new-acquisitions-ab...
In âSafe Conductâ (2016), acquired just last year, Ed Aktins creates a dystopian digital scene. Staged in what is half an airport security checkpoint and half an organ bank, an avatar endlessly pulls the skin from his face to reveal, again and again, the next layer of artificiality.
hirshhorn.si.edu/bio/what-absence-is-made-of/
What Absence Is Made Of also explores the personal and cultural anxieties surrounding advancements in computer animation, avatars, and artificial intelligence, as well as technology that makes the body obsolete.
www.washingtoncitypaper.com/arts/museums-galleries/blog/2...
Ed Atkinsâs âSafe Conductâ (2016), a new museum acquisition, shines in What Absence Is Made Of. This nervous computer animation watches a man place parts of his body through airport security. âSafe Conductâ tugs at the irrationality of global security rituals, like a fever dream inspired by Radiohead lyrics (but set in this case to Maurice Ravelâs classical BolĂ©ro). The three-channel installation, displayed on a triangle of suspended screens, looks as though it should be hanging over a baggage claim. (It would feel right at home in the Hirshhornâs lower-level media show, too.)
Apple iPhone 8 pronto in grandi quantitĂ , ecco a quando il debutto! Vediamo insieme le ultimissime news
Stando a quanto rivelato nel corso delle ultime ore dai colleghi dell’affidabilissimo sito DigiTimes, i principali fornitori della casa produttrice Apple hanno ufficialmente avviato la...
telefononews.it/apple-iphone/apple-iphone-8-pronto-in-gra...
âMaybe each human being lives in a unique world, a private world different from those inhabited and experienced by all other humans. . . If reality differs from person to person, can we speak of reality singular, or shouldn't we really be talking about plural realities? And if there are plural realities, are some more true (more real) than others? What about the world of a schizophrenic? Maybe it's as real as our world. Maybe we cannot say that we are in touch with reality and he is not, but should instead say, His reality is so different from ours that he can't explain his to us, and we can't explain ours to him. The problem, then, is that if subjective worlds are experienced too differently, there occurs a breakdown in communication ... and there is the real illness.â âPhilip K. Dick
âTo love. To be loved. To never forget your own insignificance. To never get used to the unspeakable violence and the vulgar disparity of life around you. To seek joy in the saddest places. To pursue beauty to its lair. To never simplify what is complicated or complicate what is simple. To respect strength, never power. Above all, to watch. To try and understand. To never look away. And never, never to forget.â âArundhati Roy, The Cost of Living
âStyle is the answer to everything.
A fresh way to approach a dull or dangerous thing
To do a dull thing with style is preferable to doing a dangerous thing without it
To do a dangerous thing with style is what I call art
Bullfighting can be an art
Boxing can be an art
Loving can be an art
Opening a can of sardines can be an art
Not many have style
Not many can keep style
I have seen dogs with more style than men,
although not many dogs have style.
Cats have it with abundance.
When Hemingway put his brains to the wall with a shotgun,
that was style.
Or sometimes people give you style
Joan of Arc had style
John the Baptist
Jesus
Socrates
Caesar
GarcĂa Lorca.
I have met men in jail with style.
I have met more men in jail with style than men out of jail.
Style is the difference, a way of doing, a way of being done.
Six herons standing quietly in a pool of water,
or you, naked, walking out of the bathroom without seeing me.â
âCharles Bukowski
âBuilding A Mysteryâ âSarah McLachlan, 1997
âCan you look out the window đ
Without your shadow getting in the way?â đ
Burgers and fries in Talkeetna, Alaska. At Shirley's Burger Barn!!!
Shot with iPhone 8 on May 26, 2022.
#festivus #xmas #Christmas #newyear #newyearseve #newyears #newyearsday #holiday #chicago #windycity @jtapasoa @unclemonkey515
hirshhorn.si.edu/bio/hirshhorn-announces-message-new-medi...
Lastly, in Starkâs âMy Best Thingâ (2011), the artist records and computer animates her real-life encounters in online sex chat rooms, an unlikely and humorous basis for creative collaboration in the face of performance anxiety.
www.washingtoncitypaper.com/arts/museums-galleries/blog/2...
In this bonkers yet bewitching computer animation, blocky figurines stand in for the artist and a pair of Italian suitors, whom Stark meets in sex chat rooms. Text-to-speech programs render the transcripts of their exchanges in flat robotic voices. (Picture Siri trying to seduce Alexa, in a scene performed by Legos.) The comical presentation irons the eros right out of the sexts. Instead, it teases out a faltering sense of innocence behind all the sexy talk.
observer.com/2017/12/curator-mark-beasley-highlights-vide...
Frances Starkâs My Best Thing tells the story of two people who develop an entirely virtual romantic relationship through an online sex chat room. Thereâs an incredible amount of intimate details shared between them, but they are ultimately just online avatars of themselves.
www.thehoya.com/exploring-complexities-communication-hirs...
The final piece in the exhibit is more lighthearted but nonetheless meaningful. âMy Best Thingâ is a transcript of creator Frances Starkâs experience in online sex chatrooms. An automatic voice reads out her words as she struggles to define intimacy and closeness and to understand how her struggles connect with her art.
Autobiographical works are not unfamiliar to Stark, who has a history of writing highly personal prose and poetry. The lack of intimacy in âMy Best Thing,â with its frozen cartoon characters speaking in monotone voices, is fascinatingly applicable to the disconnect between partners in modern relationships.
âHanya orang-orang dengan hati damailah yang boleh menerima kejadian buruk dengan lega.â âTere Liye, Rembulan Tenggelam Di Wajahmu
âQ: What are you up to today?
A: Coffee with [...] âïž
Dinner and sex with [...]
Recovering from a NYE tummy bug
Q: The usual ââïž
đ
When do *I* see you?â âAnonymous
âBoom Clapâ âCharli XCX, 2014
âBoom clap
The sound of my heart
The beat goes on and on and on and on and
Boom clap
You make me feel good
Come on to me, come on to me now
Boom clap
The sound of my heart
The beat goes on and on and on and on and
Boom clap
You make me feel good
Come on to me, come on to me nowâ
âBuilding A Mysteryâ âSarah McLachlan, 1997
âYou come out at night đ
Thatâs when the energy comes đ
And the dark sideâs lightâ đ
âCanât Be Tamedâ âMiley Cyrus, 2010
www.youtube.com/watch?v=sjSG6z_13-Q
âI wanna fly
I wanna drive
I wanna go
I wanna be a part of something I donât know
And if you try to hold me back I might explode
Baby, by now you should know
I canât be tamedâ
@artechouse
ABOUT THE INSTALLATIONS
www.dc.artechouse.com/inpeakbloom
In Peak Bloom showcases the collaborative efforts of five women artists/ women-led collective. The exhibition features:
Main Gallery // Hana Fubuki - Visual Installation with Interactions by AKIKO YAMASHITA, SACHIKO YAMASHITA & MIKITYPE
Gallery 1 // Blooming - Interactive Installation by LISA PARK
Gallery 2 // Akousmaflore - Interactive Plant Installation by SCENOCOSME
Media Lab // Enchanted Garden - Environmental Installation by DESIGN FOUNDRY Augmented Reality by TRISHA CHHABRA & ARTECHOUSE
Mezzanine Bar // Sakaba - Augmented Reality Cocktail Bar by ARTECHOUSE
www.evensi.us/garcon-house-ball-love-sex-play-2135-queens...
www.metroweekly.com/scene/?k=2584&fa=210
âJust Dance,â feat. Colby OâDonis âLady Gaga, 2008
www.youtube.com/watch?v=2Abk1jAONjw
âWhen I come through on the dance floor checkinâ out that catalog (hey)
Canât believe my eyes, so many wo/men without a flaw (hey)â
www.evensi.us/garcon-house-ball-love-sex-play-2135-queens...
www.metroweekly.com/scene/?k=2584&fa=210
âJust Dance,â feat. Colby OâDonis âLady Gaga, 2008
www.youtube.com/watch?v=2Abk1jAONjw
âWhen I come through on the dance floor checkinâ out that catalog (hey)
Canât believe my eyes, so many wo/men without a flaw (hey)â
RAFAEL LOZANO-HEMMER: PULSE
hirshhorn.si.edu/exhibitions/rafael-lozano-hemmer-pulse/
On view November 1, 2018 through April 28, 2019.
In the Hirshhornâs largest interactive technology exhibition to date, three major installations from Rafael Lozano-Hemmerâs Pulse series come together for the artistâs DC debut. A Mexican Canadian artist known for straddling the line between art, technology, and design, Lozano-Hemmer fills the Museumâs entire Second Level with immersive environments that use heart-rate sensors to create kinetic and audiovisual experiences from visitorsâ own biometric data. Over the course of six months, Pulse will animate the vital signs of hundreds of thousands of participants.
With Lozano-Hemmerâs trademark sensitivities to audience engagement and architectural scale, each installation captures biometric signatures and visualizes them as repetitive sequences of flashing lights, panning soundscapes, rippling waves, and animated fingerprints. These intimate âportraits,â or âsnapshots,â of electrical activity are then added to a live archive of prior recordings to create an environment of syncopated rhythms. At a time when biometry is increasingly used for identification and control, this data constitutes a new way of representing both anonymity and community.
The exhibition begins with Pulse Index (2010), which is presented at its largest scale to date. The work records participantsâ fingerprints at the same time as it detects their heart rates, displaying data from the last 10,000 users on a scaled grid of massive projections. The second work, Pulse Tank (2008), which premiered at Prospect.1, New Orleans Biennial, has been updated and expanded for this new exhibition. Sensors turn your pulse into ripples on illuminated water tanks, creating ever-changing patterns that are reflected on the gallery walls.
Pulse Room (2006) rounds out the exhibition, featuring hundreds of clear, incandescent light bulbs hanging from the ceiling in even rows, pulsing with the heartbeats of past visitors. You can add your heartbeat to the installation by touching a sensor, which transmits your pulse to the first bulb. Additional heartbeats continue to register on the first bulb, advancing earlier recordings ahead one bulb at a time. The sound of the collected heartbeats join the light display to amplify the physical impact of the installation.
Three short documentaries of Pulse works are also on view, showing the breadth of the series through video footage of various other biometric public-art interventions in Abu Dhabi, Toronto, Hobart, New York, and Urdaibai, Spain (2007â2015).
Curated by Stéphane Aquin, Chief Curator with curatorial assistance from Betsy Johnson, Assistant Curator.
In conjunction with the Hirshhorn exhibition, the Mexican Cultural Institute of the Embassy of Mexico in Washington, D.C. presents the Washington debut of Lozano-Hemmerâs 2011 work, âVoice Array,â on loan from the Hirshhornâs collection, a gift of the Heather and Tony Podesta Collection in 2014. On view from Oct. 31 through Jan. 31, 2019, the interactive work records participantsâ voices and converts them into flashing lights that come together to visually and aurally depict the cumulative contributions of the last 288 visitors. This is the newest project from Hirshhorn in the City, the Museumâs initiative to bring international contemporary art beyond the museum walls and into Washingtonâs public spaces to connect artists and curators with the cityâs creative communities.