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.
Our contemporary horror stories are written in a world where there seems little faith, lost hope, and no salvation. All that remains is the fragmentary and occasionally lyrical testimony of the human being struggling to confront its lack of reason for being in the vast cosmos. This is the terrain of the horror genre. Eugene Thacker explores this situation in Tentacles Longer Than Night. Extending the ideas presented in his book In The Dust of This Planet, Thacker considers the relationship between philosophy and the horror genre. But instead of taking fiction as the mere illustration of ideas, Thacker reads horror stories as if they themselves were works of philosophy, driven by a speculative urge to question human knowledge and the human-centric view of the world, ultimately leading to the limit of the human – thought undermining itself, in thought. Tentacles Longer Than Night is the third volume of the “horror of philosophy” trilogy, together with the first volume, In The Dust of This Planet, and the second volume, Starry Speculative Corpse.
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.
From 2006 to 2007 Mauss and Okiishi collaborated on One Season in Hell, an artwork titled after a web-based mistranslation of Arthur Rimbaud’s infamously untranslatable poem Une Saison en Enfer (1873). For One Season in Hell, the artists used now-outmoded word-for-word translators—better known as machine translators—to generate a fragmented version of the opus.
Derived from One Season in Hell, Mauss and Okiishi’s Dia commission investigates the complexities of virtual communication and the variance of meaning in transliterated language. Rather than unraveling an authored text, however, Poetry as not, with singing positions the visitor as poetic generator in which a user’s type is translated into disjointed text and, at times, audible song. Balancing structure and abstraction, while eschewing the fluid speech of today’s statistically based translators, Poetry as not, with singing transmutes the inputted text by a set of irrational rules. The users’ actions are recorded to generate an ever-expanding epic poem, and image clusters drawn from Google trigger a visual stratum for the performative wordplay. Mauss and Okiishi worked in collaboration with Dutch programmers and designers De Gebroeders van Leeuwen to create Poetry as not, with singing.
Anicka is in conversation with intellectual property/anticompetition lawyer and contemporary-art collector Thomas Alexander. They raise a glass to joke-writing techniques, condiment wars and so much more…
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.
Could it be that the more we know about the world, the less we understand it? Could it be that, while everything has been explained, nothing has meaning? Extending the ideas presented in his book In The Dust of This Planet, Eugene Thacker explores these and other issues in Starry Speculative Corpse. But instead of using philosophy to define or to explain the horror genre, Thacker reads works of philosophy as if they were horror stories themselves, revealing a rift between human beings and the unhuman world of which they are part. Along the way we see philosophers grappling with demons, struggling with doubt, and wrestling with an indifferent cosmos. At the center of it all is the philosophical drama of the human being confronting its own limits. Not a philosophy of horror, but a horror of philosophy. Thought that stumbles over itself, as if at the edge of an abyss. Starry Speculative Corpse is the second volume of the “Horror of Philosophy” trilogy, together with the first volume, In The Dust of This Planet, and the third volume, Tentacles Longer Than Night.
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.
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.
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.
“Socrates loves philosophy but is mad about Phaedrus. So he seduces the young and handsome man under a tree with the words that matter most.” — Back cover of Phaedrus Pron
Artist and writer Paul Chan transforms Phaedrus, the famous dialogue by Plato about love, madness, and the powers of the divine, into a relentless and absurdly funny exchange between two men searching for the right words to say the very wrong things.
Phaedrus Pron was written using a unique set of fonts created by Chan that turns letters, numbers, and grammatical marks into phrases and sentence fragments. Chan’s fonts instantly translate what you type into words that you did not intend to write. Each font embodies a different idiolect, expressing a different “voice” that echoes characters from literature, classical and modern poets, and contemporary public figures.
Works of art in themselves, the fonts extend the possibilities of writing by rewriting what is written with a simple change of font in your computer: from Times new roman to…Phaedrus Pron!
Internationally acclaimed artist Paul Chan lives and works in New York. His work has been exhibited widely in many international shows including: Making Worlds, 53rd Venice Biennale, 2009; Medium Religion, ZKM, Karlsruhe, 2008; Traces du sacrê, Centre Pompidou, Paris, 2008; 16th Biennale of Sydney, 2008; 10th International Istanbul Biennial, 2007; and Whitney Biennial, Whitney Museum of American Art, New York, 2006. Recent solo exhibitions include: My laws are my whores, Renaissance Society at the University of Chicago, 2009; Paul Chan: Three Easy Pieces, Carpenter Center for the Visual Arts, Harvard University, Cambridge, 2008; Paul Chan: The 7 Lights, Serpentine Gallery, London, and New Museum, New York, 2007–2008; Paul Chan—Lights and Drawings, Stedelijk Museum, Amsterdam. In 2007, Chan collaborated with the Classical Theatre of Harlem and Creative Time to produce a site-specific outdoor presentation of Samuel Beckett’s play Waiting for Godot in New Orleans. Chan’s essays and interviews have appeared in Artforum, Frieze, Flash Art, October, Tate etc, Parkett, Texte Zur Kunst, Bomb, and other magazines and journals.
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.
Saga is an art project by Mat Dryhurst exploring website specific expression online.
In 2010, acclaimed German sound experimentalist Florian Hecker and multidisciplinary artist Mark Leckey came together for the first time. Their combined Hecker Leckey Sound Voice Chimera—a mutant configuration of two geneti- cally discrete solo works—was originally presented as part of a two-day performance event at the Tate Modern called Push and Pull, and arrives as PAN’s inaugural offering of 2015. Both artists, as the art historian Alex Kitnick notes in his text accompanying the release, have a demonstrated interest in sound and its material effects; Hecker’s acute, algorithmic computer music is noted for impacting the very molecular infrastructure of its listeners, while Leckey’s work across performance, sculpture, and installation takes up transcendence and the occupation (or animation) of new bodies and modes of being.