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Todd Suomela's Library tagged contemporary   View Popular, Search in Google

Apr
15
2012

"A really new aesthetics might work differently: instead of concerning itself with the way we humans see our world differently when we begin to see it through and with computer media that themselves "see" the world in various ways, what if we asked how computers and bonobos and toaster pastries and Boeing 787 Dreamliners develop their own aesthetics. The perception and experience of other beings remains outside our grasp, yet available to speculation thanks to evidence that emanates from their withdrawn cores like radiation around the event horizon of a black hole. The aesthetics of other beings remain likewise inaccessible to knowledge, but not to speculation--even to art. "

art modern contemporary technology computer visual graphics new-aesthetic mediation digital aesthetics object-oriented-ontology

  • My version of object-oriented ontology, outlined in my new book Alien Phenomenology, or What it's Like to Be a Thing, concerns the experience of objects. What is it like to be a bonobo or a satellite or a pixel?  

     

      There's a reason I start from aliens instead of computers, and from phenomenology instead of aesthetics. We usually understand alien either in a  political or a cosmological sense: a terrestrial alien is a foreigner from another country, and an extraterrestrial alien is a foreigner from another  planet. Even when used philosophically to refer to otherness more generally, aliennness is assumed to be a human-legible intersubjectivity. The  other is someone we can recognize as enough like ourselves to warrant identification. 

    But the true alien might be unrecognizable; it might not  have an intelligence akin to our intelligence, or even one we could recognize as intelligence. Rather than wondering if alien beings exist in the  cosmos, let's assume that they are all around us, everywhere, at all scales. Everything is an alien to everything else. It is ultimately impossible for  one thing to understand the experience of another, but we can speculate about the withdrawn, inner experience of things based on a combination  of evidence--the exhaust they leave behind--and poetics--the speculative work we do to characterize that experience. 

  • The compendium is a better model than the aggregate. A list of things is most useful when it is large enough to show diversity and juxtaposition, but  small enough to provide coherence: a tiny bestiary, not an infinite zoo. 

     

      I've suggested the term ontography as a name for creating lists, groups, or other collections of things for the purpose of documenting the  repleteness under one tiny rock of existence. Ontography is an aesthetic set theory: it can take the form of lists, photographs, collections, even  tumblrs, perhaps, with enough practice. Collection is aesthetically productive, but a collection that strives to trace an asymptote toward infinity  creates obligation instead of clarity.

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Apr
9
2012

"Valorizing machine-generated imagery is like valorizing the unconscious mind. Like Surrealist imagery, it is cool, weird, provocative, suggestive, otherworldly, but it is also impoverished.

That’s the big problem, as I see it: the New Aesthetic is trying to hack a modern aesthetic, instead of thinking hard enough and working hard enough to build one. That’s the case so far, anyhow. No reason that the New Aesthetic has to stop where it stands at this moment, after such a promising start. I rather imagine it’s bound to do otherwise. Somebody somewhere will, anyhow."

art aesthetics modern contemporary computer technology movement new-aesthetic commentary review

"One of the core themes of the New Aesthetic has been our collaboration with technology, whether that’s bots, digital cameras or satellites (and whether that collaboration is conscious or unconscious), and a useful visual shorthand for that collaboration has been glitchy and pixelated imagery, a way of seeing that seems to reveal a blurring between “the real” and “the digital”, the physical and the virtual, the human and the machine. It should also be clear that this ‘look’ is a metaphor for understanding and communicating the experience of a world in which the New Aesthetic is increasingly pervasive."

art aesthetics modern contemporary computer technology movement new-aesthetic

Feb
11
2012

At MASS MoCA the artist has applied her atmospheric veils of paint to four mounds of soil which seem to spill from the upper balcony into the enormous space below. Stacks of Styrofoam shards rise out of the seductive mountains of color, mirroring the white of the gallery walls -- the metaphorical canvas of Grosse's tremendous painting. While the sprawling installation provokes associations with a psychedelic, glacial landscape, Grosse's work is not representational.

art sculpture design modern-art state(Massachusetts) museum contemporary 2011

Sep
25
2011

"A new website and mobile app looks at your purchases and determines the amount of forced labor that's gone into everything you own. "

slave economics products capitalism international contemporary

Sep
8
2009

Much of epistemology has arisen either in defense of or in opposition to various forms of skepticism. Indeed, one could classify various theories of knowledge by their responses to skepticism. For example, rationalists could be viewed as skeptical about the possibility of empirical knowledge while not being skeptical with regard to a priori knowledge and empiricists could be seen as skeptical about the possibility of a priori knowledge but not so with regard to empirical knowledge. In addition, many traditional problems, for example the problem of other minds or the problem of our knowledge of God's existence, can be seen as restricted forms of skepticism which hold that we cannot have knowledge of any propositions in some particular domain thought to be within our ken.

philosophy skepticism contemporary epistemology knowledge certainty belief

in list: Philosophy Notes

  • Even before examining the various general forms of skepticism, it is crucial that we distinguish between philosophical skepticism and ordinary incredulity because doing so will help to explain why philosophical skepticism is so intriguing.
  • The point here is that in this case, and in all ordinary cases of incredulity, the grounds for the doubt can, in principle, be removed. As Wittgenstein would say, doubt occurs within the context of things undoubted. If something is doubted, something else must be held fast because doubt presupposes that there are means of removing the  doubt.[2]  We doubt that the bird is a robin because, at least in part, we think we know how robins typically fly and what their typical coloration is. That is, we think our general picture of the world is right — or right enough — so that it does provide us with both the grounds for doubt and the means for potentially removing the doubt. Thus, ordinary incredulity, say about some feature of the world, occurs against a background of sequestered beliefs about the world. We are not doubting that we have any knowledge of the world. Far from it, we are presupposing that we do know some things about the world. To quote Wittgenstein, “A doubt without an end is not even a doubt” (Wittgenstein 1969, ¶ 625).

      

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  • Philosophical views are typically classed as skeptical when they involve advancing some degree of doubt regarding claims that are elsewhere taken for granted. Varieties of skepticism can be distinguished in two main ways, depending upon the focus and the extent of the doubt.
  • As regards the former, skeptical views typically have an epistemological form, in that they are focused on the epistemic status of certain beliefs. For example, one common variety of skepticism concerns our beliefs about the past and argues that such beliefs lack positive epistemic status – that they are not justified, or are not rational, or cannot constitute knowledge (and perhaps even all three). Where skepticism does not have this epistemological focus, then it tends to be of an ontological form in that it is directed at beliefs about the existence of some supposedly problematic entity, such as the self or God. Here the target of the skepticism is not so much one’s putative knowledge of these entities (though it may be that as well), but rather the claim that they exist at all.

     

    As regards the latter, one can differentiate between skeptical views that are either local or radical. Local varieties of skepticism will only concern beliefs about a certain specific subject matter, such as beliefs in abstract objects or the conclusions of inductive arguments. Since ontological varieties of skepticism tend to be concerned with the existence of particular sorts of entities, they are usually (though not always) of this local form. In contrast, radical forms of skepticism afflict most of our beliefs and thus pose, at least potentially, the most pressing philosophical challenge.

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Jul
7
2009

Our immersive digital environment demands new responses from writers. What does it mean to be a poet in the Internet age? These two movements, Flarf and Conceptual Writing, each formed over the past five years, are direct investigations to that end.

poetry poetics art modern contemporary style writing conceptual flarf school magazine

With sensitivity to texture, volume, and the inherent physical properties of materials, Donovan transforms large quantities of mass-produced items—toothpicks, adhesive tape, straws, buttons, pins, plastic cups and Mylar—into stunning sculptural objects and installations.

museum exhibition art contemporary sculpture

Dec
13
2008

A highly selective and perhaps arbitrary list of articles, books, and collected writing that are nonetheless essential to understanding the trajectory and claims of much contemporary art. These are by no means easy reads, but if studied, they will render a deeper understanding of contemporary art then any broad survey.

book list art modern contemporary

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