Every age has a theory of rising and falling, of growth and decay, of bloom and wilt: a theory of nature. Every age also has a theory about the past and the present, of what was and what is, a notion of time: a theory of history. Theories of history used to be supernatural: the divine ruled time; the hand of God, a special providence, lay behind the fall of each sparrow. If the present differed from the past, it was usually worse: supernatural theories of history tend to involve decline, a fall from grace, the loss of God’s favor, corruption. Beginning in the eighteenth century, as the intellectual historian Dorothy Ross once pointed out, theories of history became secular; then they started something new—historicism, the idea “that all events in historical time can be explained by prior events in historical time.” Things began looking up. First, there was that, then there was this, and this is better than that. The eighteenth century embraced the idea of progress; the nineteenth century had evolution; the twentieth century had growth and then innovation. Our era has disruption, which, despite its futurism, is atavistic. It’s a theory of history founded on a profound anxiety about financial collapse, an apocalyptic fear of global devastation, and shaky evidence.
katherinestasaph

With algorithmic culture, computers and algorithms are allowing a new level of real-time personalization and content selection on an individual basis that just wasn’t possible before. But rather than use these tools to serve our authentic interests, we have built a system that often serves a commercial interest that is often at odds with our interests – that’s corrupt personalization.

If I use the dominant forms of communication online today (Facebook, Google, Twitter, YouTube, etc.) I can expect content customized for others to use my name and my words without my consent, in ways I wouldn’t approve of. Content “personalized” for me includes material I don’t want, and obscures material that I do want. And it does so in a way that I may not be aware of.

Fascinating, super relevant post on how algorithms of websites like Facebook are making “our” interests their interests.  

Isn’t it striking that the most-typical and most-maligned genres of Instagram imagery happen to correspond to the primary genres of Western secular art? All that #foodporn is still-life; all those #selfies, self-portraits. All those vacation vistas are #landscape; art-historically speaking, #beachday pics evoke the hoariest cliché of middle-class leisure iconography. (As for the #nudes, I guess they are going on over on Snapchat.)

thefader
thefader:

FADER MIX: EAUX
TRACKLIST:
underground resistance – codebreake
black dice – things will never be the sam
the KLF – elvis on my radio, steel guitar in my sou
kassem mosse – c1
the ccm steel band – alberto balsalm
mark flash – eagle warriors (UR)
jon hopkins – open eye signal
lou reed – like a possum
paul mccartney – waterfalls
yellow magic orchestra – light in darkness
boredoms – super ae
blanck mass – polymorph
arthur russell – in the light of the miracle
Pantha Du Prince & The Bell Laboratory – Photon
head high – keep on talking (dirt mix)
steve moore – logotone
(phase iv film trailer by saul bass)
Group Doueh – Wazan Samat
Darkside – Freak, Go Home
bEEdEEgEE – empty vases (featuring douglas armour)
tongebirge vs. the elektroplankton

Eaux is a London trio featuring members of the now-defunct Sian Alice Group, who were criminally slept-on in the mid/late 00s. This looks like a good mix.

thefader:

FADER MIX: EAUX

TRACKLIST:

  1. underground resistance – codebreake
  2. black dice – things will never be the sam
  3. the KLF – elvis on my radio, steel guitar in my sou
  4. kassem mosse – c1
  5. the ccm steel band – alberto balsalm
  6. mark flash – eagle warriors (UR)
  7. jon hopkins – open eye signal
  8. lou reed – like a possum
  9. paul mccartney – waterfalls
  10. yellow magic orchestra – light in darkness
  11. boredoms – super ae
  12. blanck mass – polymorph
  13. arthur russell – in the light of the miracle
  14. Pantha Du Prince & The Bell Laboratory – Photon
  15. head high – keep on talking (dirt mix)
  16. steve moore – logotone
  17. (phase iv film trailer by saul bass)
  18. Group Doueh – Wazan Samat
  19. Darkside – Freak, Go Home
  20. bEEdEEgEE – empty vases (featuring douglas armour)
  21. tongebirge vs. the elektroplankton

Eaux is a London trio featuring members of the now-defunct Sian Alice Group, who were criminally slept-on in the mid/late 00s. This looks like a good mix.

robbjamieson

robbjamieson:

Dread 2014 6min10sec now showing as part of Self Help at Galerie Laroche/Joncas

This is a very funny show! I recommend. Two things Robb Jamieson has done in the past: stand-up comedy and working at a health food store. Self Help is a surreal (though often sympathetic) take on expanding the mind and healing the body. Aside from the hilarious video above, the show also includes some surprisingly subtle and delicate collage work that mixes a nimble graphic sensibility with mordant jokes about dicks and death. Look closely and you’ll notice one of the pictures includes cut-ups from Kelsey Grammer’s autobiography. There’s also a few sculptures, including a piece of Tianenmen Square, a pickle, and a self-portrait as stacked hummus containers on a yoga mat. It’s irreverent, but not in a brash, bad-boy way — it’s absurdism is still curious, still sincere. It’s a cosmic laugh.

Jordan Loeppky-Kolesnik’s exhibition, Breezy Plaza, opens tomorrow night at Eastern Bloc in Montreal and stays up for three days. This site is the online component, kind of a teaser. It’s a series of three videos composed of stock footage with a voiceover.

Loeppky-Kolesnik’s installation creates a place that is not a gallery; rather a place that emulates a myriad of spaces, familiar to the world of commerce and industry: a showroom, a trade fair, an office hallway, a photography studio, a mailroom, a shopping mall, a waiting room.

The work explores contemporary material culture through the use of handcrafted or manufactured objects that have been modified, stock/found images (used to create print works in the installation) and stock video footage (found on the project’s website).

Breezy Plaza explores the physical and virtual journeys of material goods, the traces of consumer culture, from the online experience of purchasing through sites such as Amazon and eBay, to the shipping and receiving of goods. This work revels in the camp and characteristics of the warehouse, of the consumer products manufactured within, and the interior design of consumer spaces. 

Sounds like it could be aptly compared to Artie Vierkant’s "Brand Innovations for Ubiquitous Authorship" and discussed in terms of the chatter about DIS magazine, corporate aesthetics, and the rematerialization of networks linked to here recently. I’m keen to check it out.