Halmos is proud to announce the beta launch of Library Stack.
Art’s increasing tendency to take form as digital objects has inadvertently resulted in its mediums being regulated by proprietary and closed systems. Amazon, Apple and Barnes & Noble collectively control 95% of all digital ebooks for which buyers are given a license in place of ownership. With the move to licensed content public libraries must negotiate terms with each publisher for access to ‘content streams’ with little or no say with regard to individual titles. Under such systems, libraries are unable to access the works of independent art publishers and artist-produced content made in digital formats. Furthermore, the titles cannot be cataloged by the library database network, thus fencing digital publications solely within the closed domain of commercial interests.
In an effort to expose digital art content to Library databases, Halmos has initiated Library Stack – a card file of eBooks, Video, Audio and Apps focused on art and culture. Currently in the beta launch stage, Library Stack has developed a digital access port in accordance with the Open Archive standards set forth by the OCLC WorldCat database. In this way Library Stack provides data references to otherwise closed works and makes the titles indexable to the 72,000 libraries that use the OCLC system. Additionally, Library Stack is beginning work with publishers to initiate a public lending program, providing direct media access to library patrons. Development has begun with ebook lending and will expand to other media in the future.
A compelling critique of contemporary continental theory. Through a series of incisive readings of leading theoretical figures of affirmationism–Jacques Derrida, Gilles Deleuze, Bruno Latour, Antonio Negri and Alain Badiou–Benjamin Noys contests the tendency of recent theory to rely on affirmation, and especially an affirmative thinking of resistance. He reveals a profound current of negativity that allows theory to return to its political calling.
Collaboration with Metahaven & Mathew Dryhurst. Released on RVNG Intl.
For my debut album Movement, I communicated an intimacy with my laptop. It is my instrument, memory, and window to most people that I love. It is my Home.
The ongoing NSA revelations have fundamentally changed this relationship. I entrusted so much in my device. To learn this intimacy had been compromised felt like a grand betrayal. Is everything done privately on my laptop to be considered a public performance?
In “Home”, I address that invisible audience. It is a love song for prying eyes (an agent / a critic), and also a break up song with the devices with which I shared a naive relationship. There is something dramatic, teenage and vulnerable to this sensation – our relationships with these interconnected devices are still so young, so naive.
As a culture, we are in a process of accelerated, and reluctant, maturation. We are attempting to reconcile the great emotional power of these technologies knowing that the more we welcome them into our lives, the more power they have to destabilize and hurt us.
The video for “Home” provides a visual counterpart to Holly’s uneasy relationship with the NSA agent. The NSA spying on our network may have been tacitly known from reports going back as far as 2002, but the aesthetics of this surveillance were not so known. Code names, acronyms, icons and graphics from a shadow world designed to never be publicly exposed.
For “Home,” we created a data rain of these NSA symbols. The video sees Holly from two angles; one where she is facing the camera, singing, another where she is being photographed and appears as if under surveillance. This track grasps a balance between vulnerability and control.
Capital Drawing Group grew out of a Marx reading group originally proposed at Occupy London’s Bank of Ideas. When that building was shut down and its occupants evicted, the reading group moved to the Royal Festival Hall where it continues up to the present. Our collective project to illustrate Capital is a response to the economic and political forces that dominate out lives today, as described so vividly by Marx. The ongoing work is to be understood as a reading and as a resource. Users of this site are free to copy and use our images for educational purposes. Commercial use of the images is prohibited.
Anicka discusses with gallerist Stefania Bortolami, collector Cristina Delgado, curator Ruba Katrib, critic Andrew Russeth, and artist Amy Sillman the viability of female networks and bottom-line economics for women in the contemporary-art world. First of a three-part series.
Halmos is pleased to announce the launch of The Familiar Stranger – an edition of time pieces by Tauba Auerbach
Modified Casio watch and operation manual with original text by Tauba Auerbach. Produced in an edition of 200 – each able to display its unique edition number.
Available now at www.halmos.us.com/product/the-familiar-stranger/
I think about time — all the time. I think about its elasticity and its asymmetry. I’ve always had a fraught relationship with this “familiar stranger” as J.T. Fraser aptly called it…
The Familiar Stranger is a study in chronobiology – a field of research that first emerged from the subterranean world of cave explorers in the 60s and 70s. Deep underground, devoid of external cues, the biological experiences of time proved to be elastic and subjective. Auerbach’s watch is designed to reproduce “cave time” with the display of a spinning cycle adjustable to match the wearer’s own biological rhythm.
Tauba Auerbach’s work addresses principles of math, physics, language and logic and works in a wide variety of media, including sculpture, weaving, photography, book-making and musical instrument design. She has designed a number of typefaces, including a set of new mathematical symbols which are currently in use. Auerbach’s work is included in the collections of MoMA, the Whitney Museum of American Art and the Centre Pompidou among others. Her most recent solo exhibition, The New Ambidextrous Universe took place at the ICA London. She is represented by STANDARD (Oslo), and Paula Cooper Gallery, New York.
We have a soft spot for people, for our own humanity. We learn to nurture this soft spot through art, through philosophy, through democracy, through our notions of justice or the rights of humans. We learn about the good in the things that are done by the people, for the people, through the people, in the name of the people.
But it’s getting cold out there. Something in this setup is shifting below our feet. Something is making the image of the people fuzzy, increasingly vague—a floating signifier missing its referent. Now militants who might have once fought for an idea are increasingly self-interested. Artworks are starting to function more like investment vehicles that no longer need to be seen by people. And some say that our most recent stage of planetary evolution—our current geological epoch—is distinguished mainly by the permanently destructive effects of human industry on the biosphere, in species extinction, deforestation, pollution, radiation, and so on. Which is to say that humanity can no longer be taken as the solution to anything. On the contrary, and from the perspective of the earth, humanity looks increasingly like the problem.
So how can the humanistic tradition of art continue when humans are turning the biosphere into a place uninhabitable by humans themselves? An artist today may now suddenly find the only addressee to be a future of despair, of catastrophic human extinction, of death. What does art look like when it is made without any future to look forward to?
We may be able to look at this another way. Because even though this apocalyptic view of the world sees the end of humanity, it also sees humans as the super-authors of their own doom, and even as authors of the collapse of the planet’s ecosystem. Humans may be eradicated soon, but at the same time this scenario understands humanity as more supremely powerful than at any time since the Enlightenment, even though this power is purely negative.
So the artist working under these conditions may discover a certain pleasure in the violent spectacle of annihilation. In the sheer scale of its consequences, she may understand the megalomaniac thrill of having a stake in the architecture of planetary despair. Incapable of modesty, the artist in this situation might only find the means to abandon a bloated humanist positivism for a turbocharged death drive. But we should be careful not to get too excited here. Because in this situation we are not really witnessing the death of humanism so much as the thrill of seeing what it might do in reverse. Which might be a muffled cry for the promises of a classical humanism.
One can imagine a full shift of attention towards survival technologies. An artist must find ways to harness nuclear energy, to build better bunkers, to financialize everything possible by hoarding abstract capital that can only be spent on symbolic capital. Do we know what this art looks like? It might in fact look like nothing at all—hidden away inside a bunker, or appearing as a mirror that shows you your own image, but turned up a notch. Purged of positivist fantasies, it might only appear as money does: as an uncannily base dumb material like a stone or iron ore, but one that comes with a ghostly promise of eventually being exchanged for something better that may never come to pass.
—Julieta Aranda, Brian Kuan Wood, Anton Vidokle
CITIZENFOUR is a real life thriller, unfolding by the minute, giving unprecedented access to Edward Snowden as he hands over classified documents providing evidence of mass indiscriminate and illegal invasions of privacy by the NSA.
Saga is an art project by Mat Dryhurst exploring website specific expression online.
Reading as part of the exhibition “Hymn to Pan”, 9th of July, 2010
June 20 – July 17, 2014 Dexter Sinister. Work In Progress, CAC Vilnius An exhibition of work concerned with exiting regular modes of time arranged by Dexter Sinister.
A free eBook reader compiled from the Mute magazine article archive for the Post-Media Lab, a new collaboration Mute is embarking on that will explore the following themes as part of the overall framework of the lab.
Digital Networks: Connecting People Apart, The Subsumption of Sociality, The Question of Organisation, Acting within Non-Human Ontologies
Using 16mm cameras, artist Ben Rivers documents the solitary existence of Jake, a man who lives in isolation in the middle of a remote forest. The film follows his unconventional life, capturing moments of profound beauty. Jake is seen in all seasons, surviving frugally, passing the time with strange projects, living the radical dream he had as a younger man, a dream he spent two years working at sea to realize.
William Gibson’s poem played from a 3½-inch diskette on a 1992-era Mac computer running the System 7 operating system. When the diskette ran, the text of the poem scrolled up the screen (accompanied by infrequent sound effects: a camera shutter click, a gun going off) while an encryption program on the diskette encoded each line and made the poem “disappear” after its first reading.
On December 9, 2008—the sixteenth anniversary of the original “Transmission” event debuting Agrippa—The Agrippa Files was aided by the Maryland Institute for Technology in the Humanities and the Digital Forensics Lab at University of Maryland, College Park, in unveiling an emulated run of the poem based on a bit-level copy of an original diskette loaned by collector Allan Chasanoff. The copy was played on a computer with software emulating the functions of a 1992-era Mac. For a discussion of the forensic process by which the code was accessed and emulated, see Matthew G. Kirschenbaum, with Doug Reside and Alan Liu, “No Round Trip: Two New Primary Sources for Agrippa.”
This disk image was created by the Digital Forensics Lab and theMaryland Institute for Technology in the Humanities (MITH) at the University of Maryland, College Park.
Run the disk-image copy on a computer using Mini vMac emulator with System 7 book disk (to emulate the functions of the original 1992 Mac platform for which the software on the diskette was created).
Screencast of Agrippa run
Primary Information and From The Nursery are pleased to announce their first collaborative release, an album by XXX MACARENA, a band comprised of Tony Conrad on violin, Jutta Koether on synthesizer, and John Miller on guitar. XXX MACARENA was recorded live at the Kunsthalle Zurich in June 2009. The performance is an entirely improvised 42-minute piece that ranges from microscopic detail to seismic wall-of-sound, full of intensities and introspection; a composition in-the-moment — like a crime, understood as somehow both premeditated and a matter of chance.