Now on display at F.A.T. GOLD Europe!
(Thanks to MU, Lindsay Howard and Mike (MADE BY MIKE) Merrington.)
Look at these sick invitations! Fffffatties are arriving from all over the globe to MU in Eindhoven to kick off FAT GOLD Europe! Don’t miss the agenda.
13 november 2013
Design Debates: F.A.T. Lab and Do-It-Yourself Publishing:
14 november 2013
WhatColor.IsTheInter.net/? & Browser Extensions Workshop
Thursday 14:30 â€“ 17:00 – Greg Leuch & Jiashan Wu (F.A.T Lab artist & oprichters XOlator)
Friday 15 november 2013
6pm – 7pm: F.A.T. TALKS. Wrap Up
8pm – 1am: Opening Party & Book presentation F.A.T. GOLD
Venue: Baltan Laboratories
Â Friday 15 November
“Women in tech” Workshop
Saturday 17 novemberÂ
Greg Leuch & Jiashan Wu
The pixel is not absolute. In fact, it is a metaphor.
The same pixel can appear different, depending on context. Itâ€™s transformed by screen calibration, aspect ratio; it looks one way on a phone, another projected, and yet another way on a display. An imageâ€™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.
Search results for The ScreamÂ
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 paintingsâ€™ most recent selling prices, in the millions.
Le RÃªve by Pablo Picasso, 130 Ã— 97Â cmÂ Â Â Â Â Â Â Â Â Â Â Â Â Â Â 155.9, by Addie Wagenknecht 130 Ã— 97Â cm
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.
GarÃ§on Ã la Pipe by Pablo Picasso, 100 Ã— 81 cm Â Â Â Â Â Â Â 129 by Addie Wagenknecht, 100 x 81cm
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 paintingsâ€™ 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.
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.