“This is a short mash up my friend Teddy Gage digitally altered for me. It is a snipet of footage taken from Robert Smithson’s film Spiral Jetty. I asked Teddy to “Star Wars Kid” it for me. Just as the original footage of a kid caught on video goofing around with a broomstick was altered by countless anonymous animators by added light sabers effects, Teddy has inserted a light saber into Smithson’s hand” – John Powers.
“Everything is an interactive experience where everything you see is a thing you can be, from animals to planets to galaxies and beyond. Travel between outer and inner space, and explore a vast, interconnected universe of things without enforced goals, scores, or tasks to complete. Everything is a procedural, AI-driven simulation of the systems of nature, seen from the points of view of everything in the Universe.Learn to change what you are to create worlds within worlds within worlds, or let go any time to allow Everything to take over and produce a never ending documentary about the world you live in.”
“In July 2015, Wanda Holbrook, a maintenance technician performing routine duties on an assembly line at Ventra Ionia Main, an auto-parts maker in Ionia, Michigan, was “trapped by robotic machinery” and crushed to death. On March 7, her husband, William Holbrook, filed a wrongful death complaint in Michigan federal court, naming five North American robotics companies involved in engineering and integrating the machines and parts used at the plant: Prodomax, Flex-N-Gate, FANUC, Nachi, and Lincoln Electric.”
“Holbrook’s job involved keeping robots in working order. She routinely inspected and adjusted processes on the assembly line at Ventra, which makes bumpers and trailer hitches. One day, Holbrook was performing her regular duties when a machine acted very irregularly, according to the lawsuit reported in Courthouse News.
The machine loaded the hardware onto Holbrook’s head. She was unable to escape, and her skull was crushed. Co-workers who eventually noticed that something seemed amiss found Holbrook dead.
“The robot from section 130 should have never entered section 140, and should have never attempted to load a hitch assembly within a fixture that was already loaded with a hitch assembly. A failure of one or more of defendants’ safety systems or devices had taken place…”
Pic: Chris Foss, cover painting for the Panther Edition of John Sladek’s The Reproductive System, 1968.
“Targeting Jupiter’s icy moon, Europa, this expansive sculpture exhibition offers an unprecedented view into Tom Sachs’ extraordinary artistic output and advances his quest to find extraterrestrial life with bricolaged sculptures. The exhibition will fill YBCA with everything his astronauts need to successfully complete their voyage—including the Mobile Quarantine Facility, Mission Control, the Apollo-era Landing Excursion Module (LEM), and special equipment for conducting scientific experiments—immersing the audience in a universe of sculpture occupying the entire downstairs galleries in addition to YBCA’s public spaces. Space Program: Europa will feature live activations of the Europa flight plan by Sachs’ astronauts during the opening and closing weekends. In these demonstrations, the astronauts will showcase the rituals and procedures of their mission, including the cultural export of chanoyu, the ancient art of the tea ceremony.
“Tom Sachs (b. 1966, New York) is a New York–based sculptor known for his work inspired by icons of modernism and design. Using modest studio materials, Sachs creates parallel universes incorporating semi-functional sculpture, sometimes deployed by the artist and his studio assistants for interactive projects, as in Nutsy’s (2001-3) and Space Program (2007 and 2012). YBCA, San Francisco
“Terratic Animism is a project focusing on relationships between animation, animism, technology and how these influence our relationship to our surroundings. The work combines performance with video recordings of explorations of past-Utopian infrastructures in USA, combined with photography and virtual renderings of landscapes. The work was developed with support from MASS MoCA Asset for Artist program and the Danish Arts Council.”
Jakob Kudsk Steensen
Terratic Animism, 2016
Costume, spotlights, mylar, wood and video
Format: 4K and 2K versions available.
“People’s desire to make sense of the social world is closely coupled with the extent to which they experience control over their environment. Various complementary theoretical perspectives, on meaning-making (Heine, Proulx, & Vohs, 2006; Park, 2010; Van den Bos, 2009), paranoia (Kramer, 1998), and compensatory control (Kay, Whitson, Gaucher, & Galinsky, 2009; Rutjens, van Harreveld, & van der Pligt, 2013), assume that threats to control increase people’s mental efforts to make sense of the social world, imbuing the world with meaning, purpose, and order. These insights may explain why conspiracy theories seem to gain momentum particularly following impactful societal events that are likely experienced as control threats by citizens (e.g., a terrorist strike, a war, or a natural disaster; see Pipes, 1997; Robins & Post, 1997; Shermer, 2011). Indeed, research reveals that people are more likely to attribute impactful, harmful societal events (e.g., a politician is assas- sinated) to conspiracies than societal events that are less impactful or harmful (e.g., someone tries to assassinate a politician but fails; see McCauley & Jacques, 1979), a finding that is attributable to people’s sense-making motiva- tion (Van Prooijen & Van Dijk, 2014).
“In a similar vein, various operationalizations of control threats have been found to predict conspiracy beliefs. For in- stance, an external locus of control—that is, a dispositional tendency to believe that one’s outcomes are controlled by external forces—is correlated with interpersonal mistrust and paranoia (Mirowsky & Ross, 1983) and belief in conspiracy theories (Hamsher, Geller, & Rotter, 1968).
“Furthermore, a seminal study by Whitson and Galinsky (2008) reveals that experimentally induced control threats increases the extent to which participants perceive patterns, such as images in random noise, patterns in stock market information, and conspiracies. Complementary findings indicate that control threats elicit responses that are widely associated with conspiracy belief, such as attributing increased power to one’s enemies (Sullivan, Landau, & Rothschild, 2010), and scapegoating (Rothschild, Landau, Sullivan, & Keefer, 2012). Furthermore, constructs that are closely associated with control threats, such as death anxiety (Newheiser, Farias, & Tausch, 2011), uncertainty (Van Prooijen & Jostmann, 2013), and attitudinal ambivalence (van Harreveld, Rutjens, Schneider, Nohlen, & Keskinis, 2014), have been found to similarly influence conspiracy beliefs. In the following, we discuss how the present contribution is designed to expand on these insights.”
Text: The Influence of Control on Belief in Conspiracy Theories: Conceptual and Applied Extensions, Jan-Willem Van Prooijen and Michelle Accker, Applied Cognitive Psychology, Appl. Cognit. Psychol. 29: 753–761 (2015).
Image: Adolph Gottlieb, Green Dream, 1969, Serigraph, 24.13 x 19.13 inches
“Beneath a tempestuous sky, the army of the heathen Amorites seethes like a swarm of ants about to be exterminated. The Israelite leader Joshua stands on a jaggedly upthrust rock – the first of many such violently shaped peaks and crags to be found in the agitated geology of Martin’s imagination – surveying the scene with triumphant complacency.
“With a single raised hand, spot-lit against glooms of immense depth, he urges the conquering hordes of his own army to go for the kill. Exhibited at the Royal Academy in 1816, just a year after Waterloo, this depiction of God’s chosen people defeating the forces of evil may have been patriotically intended to evoke parallels with the present, and Britain’s defeat of France. Perhaps for that reason, it proved extremely popular.
“Martin followed up with The Fall of Babylon (1819), another apocalyptic crowd scene, painted with a theatrical scene-painter’s relish in archaeological fantasy. Vast crowds of Londoners flocked to see it, drawn by Martin’s spectacular vision of a great city’s sudden destruction, much as audiences are drawn to the latest disaster movie.
“Belshazzar’s Feast was an even bigger hit. The astonished tyrant is shown at the moment of his demise, together with his fellow-decadents and the cautionary figure of Daniel, in a pink palace of inordinate size painted in rushingly vertiginous linear perspective. John Constable’s biographer, CR Leslie, noted rather sniffily that Belshazzar’s Feast “made more noise among the mass of people than any picture that has been exhibited. The artists, however, and connoisseurs did not like it much.”
“The ambivalent response to Martin’s work – loved by the public, mostly hated by the critics – was also an index of his disconcerting originality. His closest contemporary was Turner and Martin himself could be seen as a coarser version, an artist who took Turner’s philosophical melancholy, his fatalistic belief that all civilisations inevitably end badly, and made it big box office…”
Text: John Martin: Andrew Graham-Dixon, Apocalypse, at Tate Britain, Seven magazine review, The Telegraph, September 23, 2011.