“How does one hate a country, or love one?”

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“How does one hate a country, or love one? Tibe talks about it; I lack the trick of it. I know people, I know towns, farms, hills and rivers and rocks, I know how the sun at sunset in autumn falls on the side of a certain plowland in the hills; but what is the sense of giving a boundary to all that, of giving it a name and ceasing to love where the name ceases to apply? What is love of one’s country; is it hate of one’s uncountry? Then it’s not a good thing. Is it simply self-love? That’s a good thing, but one mustn’t make a virtue of it, or a profession…”

Ursula K. Le Guin, The Left Hand of Darkness

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Spiral Jedi

“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.

“It’s up to you what matters…”

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.”

Prodomax Flex-N-Gate FANUC Nacho

“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.”

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“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.

 “Holbrook was in the plant’s six-cell “100 section” when a robot unexpectedly activated, taking her by surprise. The cells are separated by safety doors and the robot should not have been able to move. But it somehow reached Holbrook, and was intent on loading a trailer-hitch assembly part right where she stood over a similar part in another cell.

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…”

Text: A rogue robot is blamed for a human colleague’s gruesome death, Quartz.

Pic: Chris Foss, cover painting for the Panther Edition of John Sladek’s The Reproductive System, 1968.

Targeting Jupiter’s Icy Moon

“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

“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
Duration, 13min07sec
Format: 4K and 2K versions available.

Control Threats

“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).

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“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