Tag: generative
Variable display size, displayed in multiple with optional 1080p projection. Portfolio of 3 burn/hope monoprints using laser-cut large-format debossing, lemon juice, isopropyl alcohol, lighters, flame, smoke and one imprint-only print. Open set of 3 with burn “X” monoprints one white print, on 300g/msq white velvet somerset paper, 30 by 44 inches (760mm x 1120mm). With Emily York and Courtney Sennish.
2023-ongoing
Two additional views for Star-X internet maps.
1. Southern Version.
Shifts perspective from centered on the globe from atop the North Pole one hundred and eighty degrees, to centered on the globe atop the South Pole. Also known as Antarctica. This continent is badly mangled in the Cahill-Keyes Butterfly M projection, and so the Southern Version centers it.
Shifts perspective from centered on the globe from atop the North Pole one hundred and eighty degrees, to centered on the globe atop the South Pole. Also known as Antarctica. This continent is badly mangled in the Cahill-Keyes Butterfly M projection, and so the Southern Version centers it.
Although larger than Australia, the region is often mangled or otherwise neglected in cartographic projections. This forgotten continent with an unremembered shape will gradually coming into visible relief as climate melts the glacial ice hiding coastal land.
2. Mirrored Versions
Studies for comparing internet phenomena in Africa and the vast sparsely populated Pacific Ocean, often overlooked regions for internet analysis.
Agnes Denes Cartography
Tauba Cartography
Variable display size, displayed in multiple with optional 1080p projection. Portfolio of 3 burn/hope monoprints using laser-cut large-format debossing, lemon juice, isopropyl alcohol, lighters, flame, smoke and one imprint-only print. Open set of 3 with burn “X” monoprints one white print, on 300g/msq white velvet somerset paper, 30 by 44 inches (760mm x 1120mm). With Emily York and Courtney Sennish.
2022-ongoing
Base projection for Star-X internet maps.
Smoke, burn scars, lemon juice, hope on paper with all-over large-format laser debossing. Open set of 3 with “Enso/Zero” burn monoprints one white print, on 300g/msq white velvet somerset paper, 30 by 44 inches (760mm x 1120mm). With Emily York and Courtney Sennish.
2022
In 2019, a heavily-redacted version of the Mueller Report was made public. On the thirteenth of May 2022, another heavily-redacted addendum was made public as part of the Paul Manafort sentencing, the Mueller Manafort Response. Both of these documents together are 486 pages: if every page of the combined document was shrunk and put into a rectangular grid, the resulting document would fill the paper edge to edge, and each page would measure 1.75” tall by 1” wide.
The background image is this graphic projection, but only the parts of each page that have been redacted, blacking out the text and hiding meaning and comprehension. Many pages (and key parts of these documents) are unintelligible to the public, years and years after the events described.
We stand on the shoulders of giants.
Profound thanks to Alex Thompson at Pagoda Arts, Emily York and Courtney Sennish at Crown Point Press, Kate Randall (invisible ink, burn art history, burn safety), Ian Roxbourough (combustion).
Exploratory talks with small groups discussing current internet infrastructure, from fiber optic cables, starlink and LEO satellites, and mobile network providers, and perceptions of a connected global village versus the holes in current reality. In addition, the state of web, news, social and streaming media, and how censorship and villainy thwart utopian ideals. The sessions end with an optional tarot card draw and aggregate interpretation “for the internet in 2023.”
Here’s a small A5 booklet that describes the performance.
Media Metadata Research Lab (MMRL) is a San Francisco-based art research collective
working at the intersection of data visualization, digital art, and cultural analytics. We
develop quantitative and qualitative methods for measuring and representing diversity in
media. MMRL members are Abigail De Kosnik, Benjamin De Kosnik, Veronica Jackson, Matthew Jamison, and Jaclyn Zhou.
Included below are work-in-progress graphic outputs from an experimental intersectionality tagging and visualization system being developed by MMRL for film, television, streaming, web content, and social media.
More information is available in the MMRL repository.
Inkjet on washi, folds, PVA adhesive, titanium-zinc white oil paint stick, mylar tape, washi tape, glitter, handwritten notes in graphite.
Playing With Fire* (Peer-Centered Network Map), double-sided inkjet and foldable. Dimensions 22H x 68W inches, unfolded. Edition of 5.
Upside-down At Any Angle (Peer-Centered Network Map), single-sided inkjet triptych of 31 x 22 inch panels. Dimensions 66H x 31W inches.
2019, 2020
Internet maps composed of three components: sixteen months of the locations of people that share gun files on the internet (black circles), the infrastructure of high speed optical fiber from submarine cables (yellow lines), and network bridges / exit nodes on the Tor network that link the internet to the dark web (red rays). The sampled data, the infrastructure data, and the dark web data are rendered onto the globe with a Cahill-Keyes projection.
On September 1, 2018, the United States Department of State banned Defense Distributed, a company in Texas, from the distributing files for the first 3D printed gun, the Liberator. These files immediately re-appeared on the dark web, on private download sites, attached as messages sent on phones, on peer-to-peer networks, and other networks all over the world. Since then, schematics for additional weapons have circulated, including AR-15, AK-47, Glock 17, and accessories such as large capacity magazines and bump fire gadgets. On the day of the ban, computers using custom software started sampling the internet to collect any data on users sharing these files, sampling peer-to-peer traffic to construct a sixteen-month history of network locations. The sampling effort, and the attempts to visualize this flow of virtual weaponry, continue into the present.
Installation, variable size. With six 8.5 x 11″ bound objects (100-600 pages), a combination of maps on washi (22 x 17″), and 1080p video (1-4 minutes).
2017, 2018, 2019, ongoing
An installation of artifacts from a research project exploring internet piracy as an instantiation of Nam June Paik’s Video Common Market. Due to the numerous technical and legal obstacles in studying peer to peer sharing behavior, the experimental data is anonymized and then materialized in archival art forms. These objects encapsulate the ephemeral nature of BitTorrent phenomena on the internet, guarding the privacy of individual internet users while providing media and communication scholars with accurate records of television circulation on the internet.
Installation, variable size. Six 1080p video loops:
Rewind Redact Black Square Edit (China), 2017, 2:42 minutes, 1920 x 1080
Rewind Redact Black Square Edit (Italy), 2017, 3:09 minutes, 1080 x 1920
Rewind Redact Black Square Edit (India), 2017, 2:09 minutes, 1080 x 1920
Rewind Redact Black Square Edit (Netherlands), 2017, 1:33 minutes, 1080 x 1920
Rewind Redact Black Square Edit (Paris), 2017, 2:58 minutes, 1080 x 1920
Rewind Redact Black Square Edit (Russia), 2017, 1:33 minutes, 1080 x 1920
2017
A site-specific video art installation from the Rewind Redact Project, in collaboration with deconstructed Vogue magazine print objects by Lucy Sweeney.
Three framed inkjet prints, folds, Facebook social graph metadata. Dimensions H x W (18.5″ x 23.5″) and (38.25″ x 30.25″).
2016
Portfolio of three prints exploring visual forms for a social graph: each print is a separate variation on the metadata from a Facebook account associated with my household’s pet dog. Each of the works is a separate visualization of the connections between people on social networks, the arrangements of and inter-networks between relationships, and a psychogeographic mapping of social media space.