CHIARA's HOTGLUE  59803882

week one; january 10th

IMAGINING FUTURES 

i feel like the video failed to offer any clear solutions as well as held an optimistic approach heavily romanticized the rise of technology without fully addressing the negative effects it has on the environment & spaces outside of the west

text that came to mind:

claire fontaine's
human strike has already begun

mark fisher's
acid communism

political reimagination;

called for a reawakening of political imagination, urging people to envision and strive for a world radically different from the present.

in thinking about a revolutionary life;

"the potentiality will only become perceptible if we free ourselves from capitalist images and refuse to think inside our perceived boundaries of thought"

SO WHERE DO ARTISTS PLAY A ROLE INTO REIMAGING FUTURES?

as artists, is it our personal responsibility to engage with the current political/social landscape, or can one's art exist outside of it?

Q

I found that the position the video had took was heavily influenced by the colonial white male perspective

reducing the tragedy of war and suffering as a natural consequence of progressing towards something greater

my artistic practice

My artmaking is compulsive. Frantic, with constant attempts to document lived experiences or feelings I don’t want to forget. My work is a manifestation of my fixation on my apprehensiveness towards change and to the nature of time passing, revealing itself through my work as anticipatory grief (mourning things that have yet to pass).

For this semester, my practice grapples with the recent demolition of my childhood home, and how it engages with grief and sentimentality in a both tangible and ephemeral way.

upcoming works

hito steryl's
the 'poor' image

in recent times, especially with the onset of technological interfaces, the privatization of media and information on the internet has resulted in an inaccessibility to content that was resistant or non-conformist to the mainstream

but due to the 'poor' image, the once high-resolute image now bastardized and geneology dubious due to multiple interventions among the technological sphere, has enabled users’ active participation in the creation and reception of the work, as well as challenges and resists the heirarchy of images that ultimately speak upon class and privledge.

week two; january 24th

HUMANS &
TECHNOLOGY

Arthur Bradley's
Originary
Technicity

discussing this topic within the framework of

the idea of considering technology as a living and breathing entity and organisms as 'technical devices' feel extremely foreign to me.

but when reducing technology as mere systems that are capable of remembering and processing information, this definition is able to capture almost everything in existence.

reflection piece

'LA LOGIQUE
DU VIVANT'

THE
TECHNIUM

SEGMENTS THAT ALL PERFORM DIFFERENT BEHAVIOURS IN A NETWORKS/ECOSYSTEM THAT ULTIMATELY PRODUCE A BEHAVIOUR 

EMERGENT TENDENCIES
leaning and biases

WHAT DOES EVOLUTION WANT?
the ability to evolve is evolving,
the world is exponentially diversifying
what technology wants is an extension of what evolution wants

THE CONTINUUM BETWEEN BORN & MADE
the progression of evolution moving beyond organic matter; being information based

in thinking about determining how evolution/technology wants to progress (more specifically rather than just 'diversifying' and striving for ubiquity), it does seem important to note how the social and capital space of our time influences the ways in which this desire manifests.

this lead to some questions |
(idk if these are stupid but)V

after reading Anneke's hotglue

is the artist unawaringly devoted to sharing their work due to the evolutionary desire for ubiquity?

Q

futhermore;

is the development of capitalism innately influenced by this evolutionary drive?

what does this evolutionary drive mean for artist and the art we make?

"AI has the potential to open the gates... just as photography liberated painting from pure factual representation"

might be interesting to think about how the development of AI and the intersection between AI and Contemporary Art might just be the unconscious evolutionary desire of both the progression technology and art?

like, rather than thinking about AI art as a destruction or completely unwelcomed in the contemporary art sphere? (which is a sentiment that I feel like many people hold)

- Jon Raffman in

'AI will become the new normal’: how the art world's technological boom is changing the industry

week three; january 31th

THE REAL WORLD 
OF TECHNOLOGY