Nothing could exist

“Life would be impossible on such a planet. It wouldn’t get enough heat and light, and if it rotated there would be total darkness half of every day. There wouldn’t be any native inhabitants. You couldn’t expect life—which is fundamentally dependent on light—to develop under such extreme conditions of light deprivation. Half of every axial rotation spent in Darkness! No, nothing could exist under conditions like that.”

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“With the slow fascination of fear, he lifted himself on one arm and turned his eyes toward the blood-curdling blackness of the window. Through it shone the stars! Not Earth’s feeble thirty-six hundred Stars visible to the eye; Lagash was in the center of a giant cluster. Thirty thousand mighty suns shone down in a soul-searing splendour that was more frighteningly cold in its awful indifference than the bitter wind that shivered across the cold, horribly bleak world.”

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Text: Issac Asimov, Nightfall

Pics: Reuben Wu.

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Objects In The Sky

“In 1896, newspapers throughout the United States began reporting accounts of mysterious airships flying overhead. Descriptions varied, but witnesses frequently invoked the century’s great technological achievements. Some sources reported dirigibles powered by steam engines. Others saw motorized, winged crafts with screw propellers. Many recalled a flying machine equipped with a powerful searchlight.

“As technologies of flight evolve, so do the descriptions of unidentified flying objects. The pattern has held in the 21st century as sightings of drone-like objects are reported, drawing concern from military and intelligence officials about possible security threats.

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By the 19th century […] the age of industrialization transferred its awe onto products of human ingenuity. The steamboat, the locomotive, photography, telegraphy, and the ocean liner were all hailed as “modern wonders” by news outlets and advertisers. All instilled a widespread sense of progress—and opened the door to speculation about whether objects in the sky signaled more changes.

“Yet nothing fueled the imagination more than the possibility of human flight. In the giddy atmosphere of the 19th century, the prospect of someone soon achieving it inspired newspapers to report on tinkerers and entrepreneurs boasting of their supposed successes.

“The wave of mysterious airship sightings that began in 1896 did not trigger widespread fear. The accepted explanation for these aircraft was terrestrial and quaint: Some ingenious eccentric had built a device and was testing its capabilities.

“But during the first two decades of the 20th century, things changed. As European powers expanded their militaries and nationalist movements sparked unrest, the likelihood of war prompted anxiety about invasion. The world saw Germany—home of the newly developed Zeppelin—as the likeliest aggressor. Military strategists, politicians, and newspapers in Great Britain warned of imminent attack by Zeppelins.

“The result was a series of phantom Zeppelin sightings by panicked citizens throughout the United Kingdom, Australia, and New Zealand in 1909, then again in 1912 and 1913. When war broke out in August 1914, it sparked a new, more intense wave of sightings. Wartime reports also came in from Canada, South Africa, and the United States. In England, rumors that German spies had established secret Zeppelin hangars on British soil led vigilantes to scour the countryside…”

Text: How UFO Reports Change With the Technology of the Times

Pic: Andy Warhol – Silver Clouds, M Woods Museum.

What the Map Doesn’t Show

“Where the City Can’t See is the first fiction film shot entirely through laser scanning technology, directed by artist Liam Young and written by author Tim Maughan. Set in the Chinese owned and controlled Detroit Economic Zone (DEZ), in a not-too-distant future where Google maps, urban management systems and CCTV surveillance are not only mapping our cities, but ruling them.

“Exploring the subcultures that could emerge from these new technologies, the film follows a collection of young factory workers across a single night, as they drift through the smart city in a driverless taxi, searching for a place they know exists, but that the map doesn’t show. They are part of an underground community that work on the production lines by day, by night adorn themselves in machine vision camouflage and the tribal masks of anti-facial recognition, enacting their escapist fantasies in the hidden spaces of the city. They hack the city and journey through a network of stealth buildings, ruinous landscapes, ghost architectures, anomalies, glitches and sprites, searching for the wilds beyond the machines…”

Text: Where The City Can’t See, andfestival
Video: WHERE THE CITY CAN’T SEE TEASER from liam young on Vimeo.

 

Data paintings

“What resembles the wall of an exotic underground grotto is actually a work of art representing the circuitry of the brain in action. Engram / Remember is an incredible moving spectacle, forged from algorithms that convert data about brainwave activity into captivating imagery – this image shows just a single frame. The high-resolution screen starts off showing what seems to be a piece of paper ripping and folding into itself, then morphs into swirling shapes that wriggle and squirm around in an imaginary box.

“Artist Refik Anadol creates his “data paintings” and other works at the Neuroscape Laboratory at the University of California in San Francisco. He measures and records volunteers’ brainwave activity with electrodes placed on their scalp (pictured below), then uses fractal algorithms and neural nets to turn the data into these shape-shifting displays. Engram / Remember uses data taken from his own brain activity while he was recalling positive long-term memories, he says.”

Text: Swirling wall of moving patterns represents our thoughts, New Scientist.

Video: Engram: Data Sculpture for Melting Memories from Refik Anadol

“We will control the horizontal. We will control the vertical.”

 

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There is nothing wrong with your television set. Do not attempt to adjust the picture. We are controlling transmission. If we wish to make it louder, we will bring up the volume. If we wish to make it softer, we will tune it to a whisper. We will control the horizontal. We will control the vertical. We can roll the image, make it flutter. We can change the focus to a soft blur or sharpen it to crystal clarity. For the next hour sit quietly and we will control all that you see and hear. We repeat: there is nothing wrong with your television set. You are about to participate in a great adventure. You are about to experience the awe and mystery which reaches from the inner mind to… The Outer Limits.

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Text: Outer Limits, opening narration.

Pics: “Luminant Point Arrays is a photographic series of old tube televisions taken at the very moment they are switched off. The TV picture breaks down and is abstracted to its essential element: light. This abstraction also results in the collapse of the external reference. Each of these photographs is from a different TV, but it’s also the length of exposure, timing, and time the TV has been running before the photo is taken that affects the results.” – Stephen Tillmans, Leuchtpunktordnungen. 

A True Alliance of Man and Nature

“A huge manmade mountain measuring 420 meters long, 270 meters wide, 38 meters high and elliptical in shape was planted with eleven thousand trees by eleven thousand people from all over the world at the Pinziö gravel pits near Ylöjärvi, Finland, as part of a massive earthwork and land reclamation project by environmental artist Agnes Denes. The project was officially announced by the Finnish government at the Earth Summit in Rio de Janeiro on Earth Environment Day, June 5, 1992, as Finland’s contribution to help alleviate the world’s ecological stress. Sponsored by the United Nations Environment Program and the Finnish Ministry of the Environment, Tree Mountain is protected land to be maintained for four centuries, eventually creating a virgin forest. The trees are planted in an intricate mathematical pattern derived from a combination of the golden section and the pineapple/sunflower system designed by the artist. Even though infinitely more complex, it is reminiscent of ancient earth patterns.

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“Tree Mountain is the largest monument on earth that is international in scope, unparalleled in duration, and not dedicated to the human ego, but to benefit future generations with a meaningful legacy. People who planted the trees received certificates acknowledging them as custodians of the trees. The certificate is an inheritable document valid for twenty or more generations in the future – the first such document involving the future in human history. The project is innovative nationally and worldwide—the first such document in human history. This is the very first time in Finland and among the first ones in the world when an artist restores environmental damage with ecological art planned for this and future generations.

“Tree Mountain, conceived in 1982, affirms humanity’s commitment to the future well being of ecological, social and cultural life on the planet. It is designed to unite the human intellect with the majesty of nature. Tree Mountain was dedicated in June, 1996 by the President of Finland, other heads of state, and people from everywhere.”

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“The development of Tree Mountain took 14 years from the original design concept in 1982, to its commissioning by the Finnish government at the Earth Summit in Rio de Janeiro in 1992— to its completion in 1996 in middle Finland. A mountain needed to be built to design specifications, which by itself took over four years and was the restitution work of a mine that had destroyed the land through resource extraction. The process of bioremediation restores the land from resource extraction use to one in harmony with nature, in this case, the creation of a virgin forest. The planting of trees holds the land from erosion, enhances oxygen production and provides home for wildlife. This takes time and it is one of the reasons why Tree Mountain must remain undisturbed for centuries. The certificate the planters received are numbered and reach 400 years into the future as it takes that long for the ecosystem to establish itself. It is an inheritable document that connects the eleven thousand planters and their descendents reaching into millions, connected by their trees. This family is the original green generation, the term that became so popular recently in people’s terminology. This family from around the world are proud custodians of the trees that bear their names and grow through the centuries to a lush manmade virgin forest. Tree Mountain is a collaborative work, from its intricate landscaping and forestry to the funding and contractual agreements for its strange, unheard-of land-use of four centuries. The collaboration expands as eleven thousand people come together to plant the trees that bear their names and remain their property through succeeding generations. The trees can change ownership—people can leave their tree to their heirs, or transfer it by other means, even be buried under it—but Tree Mountain itself can never be owned or sold, nor can the trees be moved from the forest. The trees are made by nature, the mathematical positioning created by the human intellect to form a true alliance of man and nature.”

Text & Pics: Agnes Denes Studio

Bleached Tones and Bright Lights

“A sense of the uncanny also appears in the voyeuristic angles and subtle compositional discord. An eeriness therefore lingers in the atmosphere of the exhibition, with its associations with JG Ballard, David Lynch, surveillance, and even Lana Del Rey. This is a city, Ruscha’s photographs and paintings seem to say, where bad things happen, and where secrets are kept. The bleached tones and bright lights give the impression of concealment; the surfaces are too clean to be real, and the scenes too empty to be lifelike.  This Hollywood is so reduced and abstracted that a sense of death permeates, in the two-dimensional, impossible landscapes and the sidewalks without footprints.

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“Ruscha pays homage to JG Ballard in particular, quoting from his novel High-Rise (1975) in the largescale work, The Music from the Balconies (1984). In Ballard’s dystopian novel, the inhabitants of a high-rise apartment block descend into chaos and primal urges, communicating a rather bleak vision of human nature. In Ruscha’s painting, a quote from High-Rise overlays an otherwise serene landscape, creating discord in that act itself, and so reinforcing the meaning of the words: “The music from the balconies nearby was overlaid by the noise of sporadic acts of violence.” With this careful, deadpanexecution, Ruscha’s work also recalls the writing of Bret Easton Ellis, particularly his Los Angeles-based debut Less Than Zero, which was written at around the same time this work was created and was itself inspired by Andy Warhol’s experimental 1968 novel A: A Novel. Both Ruscha and Ellis, in the tradition of Ballard and Warhol, seem to have captured a similar atmosphere, and zeitgeist even, in their observations of LA in the mid-80s…”

Text: Music From The Balconies – Ed Ruscha and Los Angeles, Studio International.

Pic: Ed Ruscha, Nine swimming pools and a broken glass, 1968.