standardgrey
The precise nature of the physiological attraction of television has yet to be specified, and may never be, but a huge amount of statistical and anecdotal evidence obviously has confirmed the truism that it has potent addictive properties. However, television posed the unusual phenomenon of an addictiveness to something that failed to deliver the most basic reward of a habit-forming substance: that is, it provides not even a temporary heightened sense of well-being or pleasure, or a gratifying if brief fall into insensate numbness. Moments after turning on a television, there is no detectable rush or charge of sensation of any kind. Rather, there is a slow shift into a vacancy from which one finds it difficult to disengage. This is a decisive trait of the era of technological addictiveness: that one can return again and again to a neutral void that has little affective intensity of any kind. In the widely noted study by Kubey and Csikszentmihalyi, the majority of their subjects reported that extended TV viewing made them feel worse than when they did not watch, yet they felt compelled to continue their behavior. The longer they watched, the worse they felt. The hundreds of studies on depression and internet use show similar kinds of results.
failedprojects

Wanna See Me Disco? Fundraiser Dance Party, 9/20/14

failedprojects:

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Join us on Saturday, September 20, 2014 at Richlane for a rebel grrrl dance party with famous feminist-themed drinks!

Celebrate and support the production of new feminist discourse and the work of contemporary women artists. We will be passing the hat, however, please note: donations are encouraged, not mandatory. We value presence over presents.

Proceeds will go toward the upcoming discussion series, All My Little Words, and group exhibition, Miss World, at PARMER in October 2014.

RSVP ON FACEBOOK

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If you’re in NYC.

tphd

tphd:

the secret music of my hands grasping the bottle
and the satisfying cracking as i twist the seal
and then hold it up to the light

the liquid somewhere between gasoline and magic

the first taste of liquor is like a trumpet blown directly
down my throat

if gravity is real, EVERYTHING on the surface of earth is
trying to get to the center but gets interrupted somewhere
along the way

the second feels like swallowing an entire fur coat

like how millionaires do

for dinner

i take a third and i can wonder

if an octopus, ANY octopus, has ever been drunk
AND imagine eating an entire cello at the same time

there’s no laws against it and anyway I’m an outlaw

but a casual outlaw

i’m an outlaw, except i don’t make a big deal about it

you can probably already tell by the cut of my jeans

and here is an open invitation to imagine an octopus
wearing a pair of jeans

feel free to redeem at any time

it’s a great time to be alive

even if almost all evidence points
to the contrary

Earnest: I think you’re the smartest person defending some of this work—the people advocating for it are generally not doing so in a way that seems nuanced or aesthetically aware—or more accurately the only people advocating for it are doing so with large sums of mute money. How do you see it related to the work you’ve done on mid-20th Century painting?

Bacon: I came to it all from a historical angle. I was someone who had thought he was going to be a contemporary art historian, but then didn’t really like most contemporary art so I moved into the past and dealt with minimalism. Around 2011 I became interested in Kassay and wanted to know more about his work. I was also confused because the abstraction from the midcentury had a lot of critical and academic success but not much mainstream appeal , and here we are talking about the reverse where critics and academics are not interested, but it is popular. Everyday people love to look at these paintings, which is odd considering they would deface Barnett Newmans and Ad Reinhardts in the ’60s. The work touches on a lot of these issues. It deals with image culture, the screen, abstraction in general. What does abstraction mean in a world where images have the same real-world value as objects? Barbara Rose wrote of op art in 1965 that it was the first brand of modernist folk-art, that it spoke to certain ideals around medium specificity and perceptual purity but was packaged in a way that was very appealing to a general audience.

Artists by row, top to bottom: Lucien Smith, Oscar Murillo, Parker Ito, Wade Guyton, Jacob Kassay, Lucien Smith. Courtesy of the Internet.
Print Issue 17 Pullout: Who’s Afraid of the New Abstraction? | SFAQ Online

For this reason all the critics who simply allow the market to dictate the terms of the conversation become willful participants in the silencing of political activity and discourse, they essentially let the wealthy few who benefit from the market win by accepting their terms as the terms of the conversation. Meanwhile they continue to write pallid defenses of the now empty and academic gestures of third, fourth, fifth generation neo-conceptual, performance, and installation art that finds sanction only within academies and institutions. An issue that is equally problematic, in my eyes. It cannot be so simple an equation as market interest in a certain kind of art means that it is inherently suspect. In certain ways the market may be more visible, vocal, and active than before, but again this has to do with larger socio-economic issues that have, with time, inevitably entered the orbit of art, than the “quality” of the work being produced at the moment. When Jerry Saltz asks, “why does so much new abstraction look the same?” I respond by asking “why does so much art, period, look the same today?” What are the larger systems that allow for an unprecedentedly large number of artists to share some part of the spotlight and to produce work that emerges from a similar set of precedents, deals with a similar set of issues and, yes, bears superficial formal similarities. A pious refusal of money, which I would point out is not even necessarily a possibility on the part of these young artists who have found their production quite literally annexed by speculators (save full-fledged dropping out of the system, and even then I’m not so sure since artists have concluded production on several of the bodies of work that, at one time or another, drew the interest of speculators), and the work has continued to be traded back and forth, often resulting in market ignorance of the subsequent work made by these artists.

Artists by row, top to bottom:
Lucien Smith, Oscar Murillo, Parker Ito, Wade Guyton, Jacob Kassay, Lucien Smith. Courtesy of the Internet.

Print Issue 17 Pullout: Who’s Afraid of the New Abstraction? | SFAQ Online

For this reason all the critics who simply allow the market to dictate the terms of the conversation become willful participants in the silencing of political activity and discourse, they essentially let the wealthy few who benefit from the market win by accepting their terms as the terms of the conversation. Meanwhile they continue to write pallid defenses of the now empty and academic gestures of third, fourth, fifth generation neo-conceptual, performance, and installation art that finds sanction only within academies and institutions. An issue that is equally problematic, in my eyes. It cannot be so simple an equation as market interest in a certain kind of art means that it is inherently suspect. In certain ways the market may be more visible, vocal, and active than before, but again this has to do with larger socio-economic issues that have, with time, inevitably entered the orbit of art, than the “quality” of the work being produced at the moment.

When Jerry Saltz asks, “why does so much new abstraction look the same?” I respond by asking “why does so much art, period, look the same today?” What are the larger systems that allow for an unprecedentedly large number of artists to share some part of the spotlight and to produce work that emerges from a similar set of precedents, deals with a similar set of issues and, yes, bears superficial formal similarities. A pious refusal of money, which I would point out is not even necessarily a possibility on the part of these young artists who have found their production quite literally annexed by speculators (save full-fledged dropping out of the system, and even then I’m not so sure since artists have concluded production on several of the bodies of work that, at one time or another, drew the interest of speculators), and the work has continued to be traded back and forth, often resulting in market ignorance of the subsequent work made by these artists.

❤ ❤ ❤ ❤ ❤ ❤ ❤ ❤ ❤ ❤ ❤ ❤ ❤ ❤ ❤ ❤ ❤ ❤ ❤
LSD=John Lennon
Bobo Eyes~ THINKSTR8(cellphone mix) -
Gaza Tech ~ I ‘m Okay
GG love ~ don’t know
Neo Image ~ jr-east
Almandine ~ Fade Away
Keiza~Hideaway
Cloudface~dojo bounce
BOBOeyes ~ Seaside
Ramona Lisa~Backwards
PATRICIA~Tough Guise
Shura~Touch
MPL~These Things
RegularFantasy~Ride
riohv~Bipolar
boboEyes~BONUS TRACK!
Zanzibar Chanel~ASS
C3DEEE~zkorg strings.2
Big Boy Mouse~#1sideA.5
lonely flute~work4whatuwantsoucanfeelit
Bryan Ferry~Jealous Guy(John Lennon)
❤ ❤ ❤ ❤ ❤ ❤ ❤ ❤ ❤ ❤ ❤ ❤ ❤ ❤ ❤ ❤ ❤ ❤ ❤

"It may be a gross distortion of what Baudrillard actually was trying to say, but I find it useful to think of Big Data and predictive analytics every time Baudrillard starts talking about simulation and deterrence. We are “deterred” or steered into certain ranges of behavior by the way reality is mediated to us (“simulation”) based on predictive analytics, recommendation engines, filter bubbles, and so on. In “The Masses: The Implosion of the Social” Baudrillard describes this with unusual clarity:


This is our destiny, subjected to opinion polls, information, publicity, statistics: constantly confronted with the anticipated statistical verification of our behavior, absorbed by this permanent refraction of our least movements, we are no longer confronted with our own will. We are no longer even alienated, because for that it is necessary for the subject to be divided in itself, confronted with the other, contradictory. Now, where there is no other, the scene of the other, like that of politics and society, has disappeared. Each individual is forced despite himself into the undivided coherency of statistics. There is in this a positive absorption into the transparency of computers, which is something worse than alienation.

To me that sounds a lot like the combination of social media and Big Data: surveillance and quantification produce the self as a set of statistics, a manipulatable data object. Baudrillard says this is “worse than alienation”; in the past, I’ve called this condition “postauthenticity.” Rather than capturing “our own will,” it circumvents it; it predicts what we want without our willing anything. Even if the prediction is initially wrong, preferential placement in the platform, and the efficacy of the subsequent feedback loops can make it so, as David Auerbach points out in this essay on the recent Facebook and OKCupid experiments. Postauthenticity (social media plus Big Data) makes our will superfluous.”

During my comps reading (especially while looking at Franco Berardi and Tiziana Terranova) I started to realize how important certain under-regarded Baudrillard texts are, especially In the Shadow of the Silent Majorities, which Horning re-examines here in terms of social media.

Anecdotally, I remember that I initially joined Facebook in 2006 in order to better communicate with people in a seminar class I was taking about art in the 80s. In that class, we read Baudrillard’s “The Ecstasy of Communication,” (which remains astonishing, IMO) and it seemed impossible to me that he could be talking about anything other than the internet, especially the phenomenon of the FB Newsfeed that I had just been introduced to.

Then there’s Warby Parker, as in Warby Parker Presents Beck Song Reader, a sunglasses company whose chunky, bohemian frames look like the kind of things an Upper West Side intellectual might have worn during the 1960s or ’70s. Proceeds from the album go to 826 National, a nationwide nonprofit committed to helping school-aged kids with creative and expository writing, co-founded by Dave Eggers, who, is also the founder of McSweeney’s. At some point describing the project becomes a Russian nesting doll of branding and attribution, brought to you by someone in conjunction with someone else for the benefit of yet someone else. Between Parker, McSweeney’s, Wes Anderson, and the album’s lineup itself, Song Reader crystallizes the maturation of the white indie set to the new ruling class—an arc traced by Beck’s own career. This is a world of people who are mellow, organized, emotive within reason, a little retro and graced with just a zest of modernity.