The Aesthetic Ground
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The Aesthetic Ground
Exploring the 'Middle' in a Soft Matter through Artistic Manifestations
Curated by Xaos
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3D Printed Dress on the Catwalk at Paris Fashion Week

For the first time ever, designers have 3D printed a multi-material dress composed of both rubber-like and rigid elements that are 3D printed simultaneously ...

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petabush's curator insight, February 11, 2013 9:27 PM

more from Iris van Herpen here with Neri Oxman

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U B U W E B - Film & Video: Derek Bailey

U B U W E B - Film & Video: Derek Bailey | The Aesthetic Ground | Scoop.it
Xaos's insight:

A series of four 55 minute films shown on Channel 4 TV in the UK in early 1992. [Only Part I is above] To say this was the best and most intelligent analysis of improvisation to be screened on UK television is probably unnecessary: it has in all likelihood been the only televised programme on this form of music-making. Written and narrated by Derek Bailey, produced and directed by Jeremy Marr, it developed out of the first edition of Bailey's book on improvisation

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#A.I.L - artists in laboratories, episode 19: Charlotte Jarvis - we make money not art

#A.I.L - artists in laboratories, episode 19: Charlotte Jarvis - we make money not art | The Aesthetic Ground | Scoop.it
Xaos's insight:

Over the past few years, Charlotte has worked with scientists to bio-engineer a bacteria with the Universal Declaration of Human Rights encoded into its DNA sequence, she developed performances that showed the public what could happen if one day, synthetic biology was used to eradicate greed, lust and anger from a group of children.

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#A.I.L - artists in laboratories, episode 18: Zoe Papadopoulou - we make money not art

#A.I.L - artists in laboratories, episode 18: Zoe Papadopoulou - we make money not art | The Aesthetic Ground | Scoop.it
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Laboratory for Ephemeral Investigations

Laboratory for Ephemeral Investigations | The Aesthetic Ground | Scoop.it
Xaos's insight:

Jen Hall and Blyth Hazen explore the nexus of biology, technology and aesthetics through interactive robotic sculpture and digital processes. Their "Laboratory for Ephemeral Investigations," created for Phillips Exeter Academy, is a unique research center and mind-opening learning environment. Like scientists, the artists use technology for creative problem solving, but their research goals are neither rational nor practical. Instead their ephemeral investigations are aesthetic, social and poetic.

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Anti-Utopias | Dynamic Tensions. A Discussion between Taney Roniger and Joseph Nechvatal

Anti-Utopias | Dynamic Tensions. A Discussion between Taney Roniger and Joseph Nechvatal | The Aesthetic Ground | Scoop.it
Xaos's insight:

Difference is novelty. I believe that art should try to be something novel, and I do believe in innovation and invention. And I don’t fall prey to these postmodernist myths of stasis and decay and repetition and simulation. That’s a trap you can fall in if you want to, but I don’t want to go there

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Anti-Utopias | J.D. Doria – Painting as Multitude (the Umwelt series)

Anti-Utopias | J.D. Doria – Painting as Multitude (the Umwelt series) | The Aesthetic Ground | Scoop.it
Xaos's insight:

Core
Painting, in its historic nature and form, converges into one image; yet, incorporating technology and cooperative intelligence, allows to expand and examine the medium’s borders beyond the exclusivity of the one image.

Ground
We are at a crossroads, in the ‘middle’ of radical transition. We are crossing over from the development of intelligence, based upon designed constraints, to development of intelligence based upon a complex and rich fabric of opportunities within soft and active reality. In soft and active matter there is no privileged identity, neither an a-priori privileged moment, nor a single-privileged image. There is however an ambiguous zone, there are fuzzy landscapes, non-linear intuitions and bifurcating events, so we need to develop an intelligence that curates becoming as a multitude.

Structure
Painting as a Multitude is the technique I am using to explore the moods and tides of emergence, where I extend the act of authoring upon technology and collective intelligence, in order to release the fixed artistic constraint of the single image, into a multitude of moments and scales captured in a dynamic evolution. Extending the Artist’s sphere of action-ability through technology and collectivity is a way of radically changing the conditions and possibilities of the painting. With technology, painting becomes a continuous event and a Rhizome-like phenomenon.

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Kung fu LED weapon, plutocrats and pickled moles - we make money not art

Kung fu LED weapon, plutocrats and pickled moles - we make money not art | The Aesthetic Ground | Scoop.it
Xaos's insight:

his week, i'm trying something new. Cramming into a quick post the exhibitions i've seen over these past few days in London. Only the ones worth a mention, though.

Starting with Mark-ing which brings side by side works by British and Japanese designers. There are all sorts of pieces of furniture to sit on, a brain lamp and an ipod speaker but there's also Yuri Suzuki's Sound of the Earth and Moritz Waldemeyer's Wushu Sword. The Sound of the Earth is turned on so you can listen to it in the gallery. The super impressive (on video) kung fu LED weapon, however, just lays glowing on the floor.

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Unspeakableness

Unspeakableness | The Aesthetic Ground | Scoop.it
Xaos's insight:

This is the early stage research of the project. In late January, 2012, I emailed around Royal College of Art asking for words describing emotions in languages other than English that are untranslatable into English. Interesting enough, in order to understand the untranslatable words I had to have several correspondence with the person who contributed the word, and through this back-and-forth discussion can I actually get the glimpse of the emotion itself. These explanation of the untranslatable words are often in the format of "it is a kind of (emotion A), close to (emotion B), and somehow between (emotion C) and (emotion D)." This triggers me to map out the emotions based on the classification of emotions provided in Shaver et al. - "Emotion Knowledge - Futher Exploration of a Prototype Approach." in the book Emotions in Social Psychology by W. Parrott (2001). Which I intented to visualised the untranslatable words as chemical molecules that reacts with the emotion "nodes" to the fact that untranslatable words are often complicated emotions that are the mixture of other translatable emotions.

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luiy's curator insight, January 20, 2013 1:55 PM

Emotion Archive


This is the extension of the untranslatable words visualisation. In order to take the visualisation further, I started to work closely with a native Russian speaker and three native German to translate the whole list of emotions, to see if they can be translated properly, or are there unique words in Chinese, Russian, or German that depicts the emotions into more precision, to come up with this "grand detail" of human emotions. It then develops into an interactive emotion archive where you can compare different emotionscape in different langauges, as well as understanding the emotions directly from facial expression, tonality, and body movements.

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Jessica Drenk

Jessica Drenk | The Aesthetic Ground | Scoop.it
G.U.M+D Galleri Urbane Marfa + Dallas                                  
Xaos's insight:
Jessica Drenk was raised in Montana, where she developed an appreciation for the natural world that remains an important inspiration to her artwork today.  Tactile and textural, her sculptures highlight the chaos and beauty that can be found in simple materials. Drenk's work is also influenced by systems of information and the impulse to develop an encyclopedic understanding of the world. In 2006, Drenk was awarded the  International Sculpture Center's Outstanding Student Achievement in Contemporary Sculpture Award.  Her work has been pictured in Sculpture Magazine and seen in shows at the International Grounds for Sculpture in New Jersey, the Albuquerque Museum, the Tucson Museum of Art, the International Book Fair of Contemporary Creative Books in Marseilles, France, as well as galleries across the United States. In 2009, Drenk received an Artist Project Grant from the Arizona Commission on the Arts, funding the installation of Archaeologica: A Museum of the Disposable at the Mesa Arts Center in Mesa, Arizona.  In 2010 her work was featured in shows at Conrad Wilde Gallery in Tucson, Catherine Person Gallery in Seattle, and Aqua Art Miami contemporary art fair in Miami Beach. In 2011 Drenk is also exhibiting at Cain Schulte Gallery in San Francisco. Drenk has an MFA from the University of Arizona, graduated Cum Laude from Pomona College, and is a member of the Phi Beta Kappa academic honor society.
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Banks Violette: Vinyl Aesthetics

Banks Violette talks about his new show at Galerie Thaddaeus Ropac in Paris, for Nowness.com
Xaos's insight:

In his recent show at Maureen Paley in London, 34-year-old artist Banks Violette projected the image of the white, galloping horse from the opening of TriStar Pictures movies on water vapor being blown by a fan. In many ways, Violette was referencing a work by one of his heroes, Jack Goldstein, who looped the roaring MGM lion in a 1975 video piece. Violette's TriStar horse keeps running, and the everlasting lifespan of the hackneyed image is very much a part of the New York artist's experiments. Specifically, Violette focuses on youth and subcultures (black is his frequent working color), simultaneously celebrating their revolt and revealing the queasy way they recycle images and slogans to keep themselves alive.

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Transformism - we make money not art

Transformism - we make money not art | The Aesthetic Ground | Scoop.it
Xaos's insight:

A couple of weeks ago, i took the bus with the Arts Catalyst in the direction of Southampton to see Transformism, an exhibition and symposium that explore the new forms and systems of life that men have devised in the past and even more dramatically in present days, using the latest advances in science and technology.The exhibition space is occupied by 2 new pieces commissioned by the Arts Catalyst to Melanie Jackson and Revital Cohen. The works investigate with radically different results how cultural archetypes and ideas interweave with science and technology to create new shapes, visual forms and structures.

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Metamorphosis Project Pitch - DA4GA award 2012

Project pitch for the first round of the Designers and Artists for Genomics award 2012. Drawing on the tradition of artists using their bodies as a site for activism,…
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Suspended stone circle II, (1974-1977, 1988) by Ken Unsworth :: The Collection :: Art Gallery NSW

Suspended stone circle II, (1974-1977, 1988) by Ken Unsworth :: The Collection :: Art Gallery NSW | The Aesthetic Ground | Scoop.it
Xaos's insight:

nsworth’s art is often ephemeral, surviving only in the memory of those who once saw it or in rumours of that memory, or sometimes as photographs or scratchy old videos. Like Joseph Beuys, whose work Unsworth passionately admires, his art is full of apparent contradictions. He reworks the great sagas of life and death while shaking the staff of a jester and yet he has created remarkable and enduring monumental sculptures. He is admired by formalists for his sculpture and for the rigorous logic of propped or suspended stones, while others respond to the expressionism of the paintings and the symbolist theatricality of his kinetic installations.

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Musician Performs Duet with Her Own Brain | TIME.com

Musician Performs Duet with Her Own Brain | TIME.com | The Aesthetic Ground | Scoop.it
The cello/brainwave duet explored the relationship a performer has to the music she's playing.

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Cellist Katinka Kleijn performed both halves of a duet Sunday night. Her hands played the cello, and her brain, hooked up to a headset that detects cerebral electrical signals, played itself. Kleijn has been playing the cello for 35 years. Her brain was a little less experienced.

 

“Intelligence in the Human Machine,” the cello/brain duet, explored the relationship a performer has to the music she’s playing. During the performance, at Chicago’s Cultural Center, Kleijn wore an Emotiv EPOC, a neuroheadset with 14 sensors that attach to the scalp and detect brainwaves. In front of her, a laptop flashed a word and a few measures of music. She then played the music on her cello, interpreting the word onscreen. At the same time, her brainwaves, translated to audio, changed sounds as she reacted to the word.


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Alistair Parker's curator insight, January 31, 2013 3:27 AM

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frequencies (a) | nicolas bernier

_ frequencies (a) is a sound performance combining the sound of mechanically triggered tuning forks with pure digital soundwaves. The performer is triggering sequences from the computer, activating solenoids that hits the tuning forks with high precision. Streams of light burst in synchronicity with the forks, creating a not-quite-minimal sound and light composition…


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Amy Youngs

This video was part of an art exhibit titled "Propagation" curated by Sabrina Raaf at Polvo in Chicago. For more info go to: http://www.polvo.org/propagation...
Xaos's insight:

Amy M. Young creates biological art, interactive sculptures and digital media works that explore the complex relationship between technology and our changing concept of nature and self.

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U B U W E B - Film & Video: Francis Bacon

U B U W E B - Film & Video: Francis Bacon | The Aesthetic Ground | Scoop.it
Xaos's insight:

Part of The South Bank Show series, David Hinton directs this documentary about British painter Francis Bacon, known for his horrifying portraits of humanity. The program consists of a series of conversations between Bacon and interviewer Melvyn Bragg, starting with commentary during a side-show presentation at the Tate Gallery in London. Later in the evening, Bacon is followed through various bars hanging out, drinking, and gambling. In another segment, Bacon provides a tour of his painting studio and a glimpse at his reference photographs of distorted humans. The artist discusses his theories, influences, and obsessions. This title won an International Emmy Award in 1985. ~ Andrea LeVasseur, All Movie Guide

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Disrupting the Continuum | www.furtherfield.org

Disrupting the Continuum | www.furtherfield.org | The Aesthetic Ground | Scoop.it
Xaos's insight:

he Shareable Readymades project works within the realms of Net art, but Shareable Readymades are output as a real-world object. Using a downloadable, freely licensed 3D model of the art work, Shareable Readymades can be printed using modern 3D printing technology wherever the equipment is available. The code for creating the 3D models is available on several websites including Rob Myers’ own Github account. The artefacts are scalable, which gives the option of deciding what size – up to that of the original item – they print at.

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Sonia Kacem | T293 | Rome Gallery Tours

Sonia Kacem | T293 | Rome Gallery Tours | The Aesthetic Ground | Scoop.it

Dramaticule | 23 Jan 2013 - 02 Mar 2013

 

Sonia Kacem presents a site specific installation in several volumes, evoking the fundamental issues related to sculpture and more specifically those of the dematerialization and the decomposition of classical forms.

 

T293
Via G. M. Crescimbeni, 11
Rome


Via Massimiliano Cammuso
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U B U W E B :: Dictionary of Moscow Conceptualism (1999 / 2010)

U B U W E B :: Dictionary of Moscow Conceptualism (1999 / 2010) | The Aesthetic Ground | Scoop.it
Xaos's insight:

Preface

The Dictionary of Moscow Conceptualism, edited by Andrei Monastyrsky – the leader of the "Collective Actions" group (hereafter abbreviated as KD, for the Russian Kollektivnye deistvia) – was first published in Russian in 1999. The Dictionary may be regarded as a discursive map of Moscow Conceptualism, a map that charts the key concepts and ideas that emerged and circulated within this tradition in the course of several decades. The mot à mot translation of this publication's title is "Dictionary of Terms of the Moscow Conceptual School," where the term "school" refers to the three generations of conceptualists in which younger artists were mentored by older, as well as to the fact that many of these artists and poets have regarded their artistic and aesthetic practices as an ongoing epistemological project, that is, as an investigation of art's conditions of possibility.[1] In this regard the work of the Moscow conceptualists, and of the "Collective Actions" group in particular, follows the agenda of the conceptual art of the second half of the last century, one of the main tasks of which was to investigate the nature of art.

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Mariko Mori - Exhibitions - Royal Academy of Arts

Mariko Mori - Exhibitions - Royal Academy of Arts | The Aesthetic Ground | Scoop.it
Full listings and information for exhibitions at the Royal Academy of Arts, London with links to related events and features
Xaos's insight:

This winter we welcome New York based Japanese artist Mariko Mori to our new space for art and architecture in Burlington Gardens. Her first major exhibition in London for 14 years, Rebirth includes some of Mori’s most acclaimed works from the last 11 years, alongside new works created especially for this exhibition. Starting and ending with the death and birth of a star, the cycle of life and rebirth is an important theme of the show, which includes photography, works on paper, sound works, as well as sculpture and large scale immersive installations and environments that invite contemplation.

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Anti-Utopias | Lorenzo Oggiano – Polimorphic Systems Studies

Anti-Utopias | Lorenzo Oggiano – Polimorphic Systems Studies | The Aesthetic Ground | Scoop.it
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“Polymorphism is the state of being made of many different elements, forms, kinds or individuals. In biology it refers to the occurrence of different forms, stages or types in individual organisms or in organisms of the same species.” (Michael Hensel)

Polymorphic Systems Studies is a series of 12 photo-realistic 3d studies that aims to explore and visualize polymorphic synth-organisms / bio-tools / bio-machines. The project expands and enhances an image series produced by the artist for Viewpoint magazine (Metropolitan Publishing BV / Amsterdam, Bianca Wendt Studio / London).

The edition is of 3+1 A.P. (2 38×57 cm – 1 56×84 cm). All the artworks are printed using pigment-based inks on archival paper.

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