The pixel is not absolute. In fact, it is a metaphor.
The same pixel can appear different, depending on context. It’s transformed by screen calibration, aspect ratio; it looks one way on a phone, another projected, and yet another way on a display. An image’s data is not the same as the light it produces, and so what we see is a version of a copy or a copy which has become an original. Pixels become lost in optimization and computational structure. Their texture, like the texture of a painting, decays with time.
The 1% is a series which attempts to balance complicity and critique of systematic structures, particularly as they are manifested in our financial and electronic worlds. Each piece in the series isolates a single, algorithmically defined point from the highest selling paintings of the last 100 years. This point is converted back into the original dimensions of the painting from which it was inherited. The titles are defined by the paintings’ most recent selling prices, in the millions.
By radically expanding these ultimately subjective points, the series attempts to visually express the elusiveness of art within the public domain. Within the same systems, open source and p2p culture have resisted control, even without conscious intent, their provocation is their distribution.
The paintings, which are the sources and subjects of The 1%, are held by private collectors or museums most outside the publics access and yet the visual representation of these works is ubiquitous online and off. The paintings’ auras have been rendered moot by accessibility, much as the mechanical reproduction of images revolutionized the experience of art in the early 20th century. The difficulty of this is that it is unclear if the value is material, cultural or both. Painting is a classification of medium, whereas Expressionism is a classification of culture. The one is based on materialism, and the other is based on contextual analysis. The 1% attempts to use both methodological avenues to work within a dual distribution model. The 1% will be on partial exhibition as prints at MU, opening Friday. The entire series will be shown next year as a solo exhibition. Torrents are available online for free.
With the initial public offering of tech giant Twitter, one of the few services that has helped shape our understanding of what it means to craft an identity online, I’ve decided to put my own identity in the hands of the public.
Twitter recently introduced an option to “receive direct messages from any follower”. Combining this feature with a small script that checks for direct messages prefixed with a ~ (tilde) character every 10 minutes, I’ve created a transparent bridge between people who follows me, and “me“: anyone who direct messages me with a “~” at the beginning of the message will become “me”. The tilde was chosen for its common use meaning of “approximately equal“.
There’s a strange connection between our “self” and our body. The connection is assumed, because they’re difficult to separate. But the only thing connecting our identity to our online persona is the knowledge of a password. What happens when we break that connection and dilute our online identity?
“Going Public” will last for one month, or until someone gets hurt.
We wanted to make a book about F.A.T since a while ago and our 5th anniversary seemed to be a good excuse for it, but herding F.A.T cats is a particularly chaotic task and anyway, samurais recommend that matters of great concern should be treated lightly. So, finally this summer Domenico and me spent some time digging F.A.T archives and doing some dirty work to put together:
From the srs bsns press release:
“In more than five years of activity, the Free Art and Technology Lab (F.A.T. Lab) produced an impressive series of projects, all developed with open source software, shared online and documented in a way that allows everybody to copy, improve, abuse or simply use them. This approach situates F.A.T. Lab in a long tradition of DIY, processual, sharable artistic practices based on instructionals, and reveals a democratic idea of art where Fluxus scores meet hacker culture (and rap music).
Featuring texts by Régine Debatty, Evan Roth, Domenico Quaranta, Geraldine Juárez and Randy Sarafan, The F.A.T. Manual is a selection of more that 100 projects, done in the belief that printing these bits on paper will allow them to spread in a different way, infiltrate other contexts, and germinate. An archive, a catalogue, a user manual and a software handbook documenting five years of thug life, pop culture and research and development.
The F.A.T. Manual is co-produced by Link Editions, F.A.T. Lab and MU, Eindhoven in collaboration with XPO Gallery, Paris. With generous support from Baltan Laboratories, Eindhoven and Creative Industries Fund NL, Rotterdam.”
Join us for our AFK book release during the opening of F.A.T GOLD EUROPE on Friday November 15 at 8:00pm at MU, Eindenhoven. (more info soon!)
Super interesting talk by Ladar Levison about what happend to Lavabit and why you can forget email (even with PGP) !! Watch the full talk! and learn about the Dark Mail Alliance!!
Ladar Levison shut down LavaBit, but isn’t allowed to say why. Edward Snowden was a LavaBit customer and allegedly several federal agencies wanted his email. Levison will offer advice for how to protect your customer’s data, what to do in the face of a subpoena, and share a cautionary tale of email privacy in the age of Prism.
The expressions published in this site are all in the public domain. You may enjoy, use, modify, snipe about and republish all F.A.T. media and technologies as you see fit.