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Data Ghosts
RYBN 2014
Networked installation, tcpdump/tshark, spectre, sphinx, espeak, aplay
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"I have been thinking for some time of a machine or apparatus which could be operated by personalities which have passed on to another existence or sphere. (..) I do claim that it is possible to construct an apparatus which will be so delicate that if there are personalities in another existence or sphere who wish to get in touch with us in this existence or sphere, the apparatus will at least give them a better opportunity to express themselves than the tilting tables and raps and ouija boards and mediums and the other crude methods now purported to be the only means of communication?" - Thomas Edison, 1920
Data Ghosts is a prototype for psychic tracking on the Internet, a “digital ghostbox” which tirelessly scans the network attempting to detect phantom messages which haunt data traffic. Following in the footsteps of Friedrich Jürgenson's pioneering studies of electronic voice phenomena (EVP), this apparatus proposes a digital version, a feedback loop created between data gleaned by tapping into the network (tcpdump), and its automatic interpretation (sphynx). The system uses Internet as a giant echo chamber, data analysed not in its digital form but rather via the noise generated by the incessant flow of data.
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Data Ghosts est un prototype de tracking psychique sur internet, une « ghostbox digitale » qui scanne inlassablement le réseau pour y déceler les messages fantomatiques qui hantent le trafic des données. Inspiré des travaux de Friedrich Jürgenson sur l'étude des phénomènes de voix électroniques (PVE/EVP) dont il propose une version numérique, cet « apparatus » repose sur une boucle de rétroaction entre une écoute du réseau (tcpdump) et son interprétation automatisée (sphinx). Le système utilise internet comme une chambre de résonance, et analyse les données, non pas sous leur forme numérique, mais à travers le bruit qu'elles génèrent.
Crédits : Guillaume Onimus
Maker: Alfred Stieglitz (1864-1946)
Born: USA
Active: USA
Medium: photogravure
Size: 8.25 in x 6.5 in
Location: USA
Object No. 2009.134
Shelf: framed
Publication: Pollack, Peter. --The Picture History of Photography.-- New York: Harry N. Abrams, Inc., 1958. p. 269.//
Norman, Dorothy. --Alfred Stieglitz, 1864-1946.-- New York: Duell, Sloan and Pearce, 1960. p. 14.//
Norman, Dorothy. --Alfred Stieglitz: An American Seer.-- New York: 1973. pl. XIX.//
American Photography, 1890-1965, Peter Galassi, MOMA, Pg 92
Alfred Stieglitz, The Key Set, Vol One 1886-1922, National Gallery of Art, 2002, pl 334
Camera Work, A Pictorial Guide, Dover 1978 pg 99
Camera Work, The Complete Illustrations 1903-1917, Taschen, 1997 pg585
20th Century Photography, Museum Ludwig Cologne, Taschen, 1996 pg116
Stieglitz, A Beginning Light, Katherine Hoffman, Yale Univerisyt Press, 2004, pl 223
Alfred Stieglitz, New York, Bonnie Yochelson, Seaport Museum/Rizzoli, New York, 2010, pl 15
Sarah Greenough, Alfred Stieglitz, The Key Set, Volume One, 1886-1922, National Gallery of Art, Washington D.C., 2002, pg 206
Other Collections: GEH, Philadelphia Museum of Art, Musee d'Orsay
Provenance: Swann Galleries
Rank: 1369
Notes: Through his activities as a photographer, critic, dealer, and theorist, Alfred Stieglitz had a decisive influence on the development of modern art in America during the early twentieth century. Born in 1864 in New Jersey, Stieglitz moved with his family to Manhattan in 1871 and to Germany in 1881. Enrolled in 1882 as a student of mechanical engineering in the Technische Hochschule (technical high school) in Berlin, he was first exposed to photography when he took a photochemistry course in 1883. From then on he was involved with photography, first as a technical and scientific challenge, later as an artistic one. Returning with his family to America in 1890, he became a member of and advocate for the school of pictorial photography in which photography was considered to be a legitimate form of artistic expression. In 1896 he joined the Camera Club in New York and managed and edited Camera Notes, its quarterly journal. Leaving the club six years later, Stieglitz established the Photo-Secession group in 1902 and the influential periodical Camera Work in 1903. In 1905, to provide exhibition space for the group, he founded the first of his three New York galleries, The Little Galleries of the Photo-Secession, which came to be known as Gallery 291. In 1907 he began to exhibit the work of other artists, both European and American, making the gallery a fulcrum of modernism. As a gallery director, Stieglitz provided emotional and intellectual sustenance to young modernists, both photographers and artists. His Gallery 291 became a locus for the exchange of critical opinions and theoretical and philosophical views in the arts, while his periodical Camera Work became a forum for the introduction of new aesthetic theories by American and European artists, critics, and writers. After Stieglitz closed Gallery 291 in 1917, he photographed extensively, and in 1922 he began his series of cloud photographs, which represented the culmination of his theories on modernism and photography. In 1924 Stieglitz married Georgia O'Keeffe, with whom he had shared spiritual and intellectual companionship since 1916. In December of 1925 he opened the Intimate Gallery and in 1929 opened a gallery called An American Place, which he was to operate until his death. During the thirties, Stieglitz photographed less, stopping altogether in 1937 due to failing health. He died in 1946, in New York. (source: The Phillips Collection)
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My aunt was going to throw away my cousin's old skateboard but I was not about to let that happen. Photographed with the 6yrold using different focal lengths, the board looks different lengths but it is the same board in each shot.
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September 20th 2015
K took part in a local triathlon this morning. Today's even was a 750m swim, 30k cycle and 5k run.
This is him coming in to finish in fifth place.
While he was racing, the girls and I had a fun time exploring the area around the lake and just hanging out. Afterwards we went to visit my parents for Sunday dinner. It was a long, but enjoyable day.