The Aesthetic Ground
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Eva Hesse

Eva Hesse (1936-1970), was a German-born American sculptor, known for her pioneering work in materials such as latex, fiberglass, and plastics. After graduat...
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Eva Hesse (1936-1970), was a German-born American sculptor, known for her pioneering work in materials such as latex, fiberglass, and plastics.
After graduating from New York's School of Industrial Art in 1952, Hesse studied at New York's Pratt Institute (1952--1953) and Cooper Union (1954--1957), then at the Yale School of Art and Architecture (1957--1959), where she studied under Josef Albers and received a B.F.A. Upon returning to New York she made friends with many young artists. In 1961, she met and married sculptor Tom Doyle. In August 1962 Eva Hesse and Tom Doyle participated in an Allan Kaprow Happening at the Art Students League of New York in Woodstock, New York. There Hesse made her first three dimensional piece: a costume for the Happening. In 1963 Eva Hesse had a one-person show of works on paper at the Allan Stone Gallery on New York's Upper East Side.
The couple lived and worked in an abandoned textile mill in the Ruhr region of Germany for about a year during 1964-1965. Hesse was not happy to be back in Germany, but began sculpting with materials that had been left behind in the abandoned factory: first relief sculptures made of cloth-covered cord, electrical wire, and masonite, with playful titles like Eighter from Decatur and Oomamaboomba. Returning to New York City in 1965 she began working in the materials that would become characteristic of her work: latex, fiberglass, and plastics. Eva Hesse had also an interest in drawing as evinced by her numerous workbooks.
She was associated with the mid-1960s postminimal anti-form trend in sculpture, participating in New York exhibits such as "Eccentric Abstraction" and "Abstract Inflationism and Stuffed Expressionism" (both 1966). In September 1968 Eva Hesse began teaching at the School of Visual Arts. Her only one-person show of sculpture in her lifetime was "Chain Polymers" at the Fischbach Gallery on W. 57th Street in New York in November 1968; her large piece Expanded Expansion showed at the Whitney Museum in the 1969 exhibit "Anti-Illusion: Process/Materials". There have been dozens of major posthumous exhibitions in the United States and Europe, including at The Guggenheim Museum (1972), the San Francisco Museum of Modern Art (2002), The Drawing Center in New York (2006) and the Jewish Museum of New York (2006).

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The Aesthetic Ground
Exploring the 'Middle' in a Soft Matter through Artistic Manifestations
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How artists and designers are “materialising the Internet”

How artists and designers are “materialising the Internet” | The Aesthetic Ground | Scoop.it
The internet is everywhere. Set free from the websites and the screens, it now penetrates our thoughts and our bodies and everything around us. Each day, the digital and physical become more integr…
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Seeing Beyond Alberto Giacometti’s Bronzes

Seeing Beyond Alberto Giacometti’s Bronzes | The Aesthetic Ground | Scoop.it
Tate Modern's retrospective of the Swiss sculptor, which gathers some 250 pieces, highlights his multi-pronged process and sustained work in plaster, wood, terracotta, oil paint, and more.
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Curator Hans Ulrich Obrist on What Makes Painting an “Urgent” Medium Today

Curator Hans Ulrich Obrist on What Makes Painting an “Urgent” Medium Today | The Aesthetic Ground | Scoop.it
Painting has always served as a kind of laboratory for innovative ways of looking at the world
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The Art of TeamLab: Floating Flower Garden

teamLab是一個彙集了藝術家丶程序員丶工程師丶CG動畫師丶數學家丶建築師丶網頁及平面圖像設計師丶編輯等,數位社會裏各領域的專業人士的跨領域的超技術專家團隊。致力於把藝術丶科學丶技術和創新之間的界線模糊化並持續活動中。
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Critical investigation into the politics of the interface. An interview with Joana Moll

Critical investigation into the politics of the interface. An interview with Joana Moll | The Aesthetic Ground | Scoop.it
Joana is an artist and a researcher whose work critically explores the way post-capitalist narratives affect the alphabetization of machines, humans and ecosystems. Her main research topics include…
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To Feel the World’s Pain and Its Beauty - Los Angeles Review of Books

To Feel the World’s Pain and Its Beauty - Los Angeles Review of Books | The Aesthetic Ground | Scoop.it
Brad Evans talks to Bracha L. Ettinger in the latest installment of his "Histories of Violence" series.
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From animal sensors to Monet as a painter of the anthropocene. 9 things i learnt on the opening day of the HYBRID MATTERs symposium

From animal sensors to Monet as a painter of the anthropocene. 9 things i learnt on the opening day of the HYBRID MATTERs symposium | The Aesthetic Ground | Scoop.it
The actors of hybrid ecologies are many. They are genetically engineered plants, cloned trees, animals used as sensors. Or they are robots, software and networks that encroach on the biological and…
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Lee Bul's Labyrinth of Infinity Mirrors: Via Negativa II

Experience Lee Bul's Via Negativa II, a maze of fragmented reflections that ends in a final contemplation chamber lined with brilliantly illuminate
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How to build a metaphor to change people’s minds – Michael Erard | Aeon Essays

How to build a metaphor to change people’s minds – Michael Erard | Aeon Essays | The Aesthetic Ground | Scoop.it
The metaphor designer isn’t trying to make something beautiful. She wants to change your view on things. Here’s how
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When the stories add up: the six narrative arcs in fiction – Veronique Greenwood | Aeon Ideas

In recent years, literature has been getting attention from an unusual quarter: mathematics. Alongside statistical physicists analysing the connections between characters in the Icelandic sagas, and computer scientists exploring the life an
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Luc Besson's Valerian Looks Like All Your Scifi Dreams Come True

Luc Besson's Valerian Looks Like All Your Scifi Dreams Come True | The Aesthetic Ground | Scoop.it
The first trailer for Luc Besson’s Valerian and the City of a Thousand Planets is finally here and it’s got everything you could want in a big science-fiction movie.
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Anthropocene, wars and greed. This must be the World Press Photo contest

In this edition, many of the winning photos document the refugee crisis in Europe, wars (mostly in Syria), violence against women and there’s also a strong thread showing the Anthropocene at its mo…
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Within: Instruments that challenge the way we understand hearing

Within: Instruments that challenge the way we understand hearing | The Aesthetic Ground | Scoop.it
Over the past seven years, Atoui has researched the relationships between sound, vibrations, instruments and the body, starting with how the deaf perceive sound. He challenges, expands and revises …
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Alchemy. The Great Art

Alchemy. The Great Art | The Aesthetic Ground | Scoop.it
The exhibition explores the enduring influence of alchemy over art. The alliance between the two fields is an intimate one: both art and alchemy are about creation, both rely on experimentation, kn…
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Gif and image written into the DNA of bacteria - BBC News

Gif and image written into the DNA of bacteria - BBC News | The Aesthetic Ground | Scoop.it
An image and short film has been encoded in DNA, using the units of inheritance as a medium for storing information.

Using a genome editing tool known as Crispr, US scientists inserted a gif - five frames of a horse galloping - into the DNA of bacteria.

Then the team sequenced the bacterial DNA to retrieve the gif and the image, verifying that the microbes had indeed incorporated the data as intended.

The results appear in Nature journal.

For their experiments, the team from Harvard University in Cambridge, Massachusetts, used an image of a human hand and five frames of the horse Annie G captured in the late 19th Century by the British photography pioneer Eadweard Muybridge.

In order to insert this information into the genomes of bacteria, the researchers transferred the image and the movie onto nucleotides (building blocks of DNA), producing a code that related to the individual pixels of each image.

The researchers then employed the Crispr platform, in which two proteins are used to insert genetic code into the DNA of target cells - in this case, those of E.coli bacteria.

For the gif, sequences were delivered frame-by-frame over five days to the bacterial cells.

The data were spread across the genomes of multiple bacteria, rather than just one, explained co-author Seth Shipman, from Harvard University in Massachusetts.

Via Wildcat2030
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Even if the story of art has died, does art still live on? – Owen Hulatt | Aeon Essays

Even if the story of art has died, does art still live on? – Owen Hulatt | Aeon Essays | The Aesthetic Ground | Scoop.it
Even since Hegel, artists and critics alike have been claiming that art is finished. But what could that actually mean?
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Damien Hirst: Treasures from the Wreck of the Unbelievable review – a titanic return

Damien Hirst: Treasures from the Wreck of the Unbelievable review – a titanic return | The Aesthetic Ground | Scoop.it
Artist has once again found the underwater grotto in his mind where monsters live, making a fool out of all of us who lost faith
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Eunoia II (Beautiful thought; 아름다운 생각 ll) from Lisa Park

"The more clearly you understand yourself and your emotions, the more you become a lover of what it is."- Baruch Spinoza Eunoia II is outfitted with 4
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Art in the Age of AI: How Tech Is Redefining Our Creativity

Technology has long been considered a resource-liberating mechanism, granting us better access to resources like information, food and energy. Yet what is often overlooked is the revolutionary impact technology can have on our ability to create art. Many artists are reacting to a world of accelerating change and rapid digitization through their work. Emerging artistic …
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50 Most Exciting Artists in Europe, Part I |artnet News

50 Most Exciting Artists in Europe, Part I |artnet News | The Aesthetic Ground | Scoop.it
The most exciting artists of 2016 work in mediums as varied as dance, activism, or science, pushing the boundaries of what art can be.
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knowledgEnabler's curator insight, December 27, 2016 3:43 AM
The most exciting artists of 2016 work in mediums as varied as dance, activism, or science, pushing the boundaries of what art can be.
Who’s surprised us, shocked us, woken us out of our stupor...
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Predictive Art Bot. A call for artworks that interpret AI-generated concepts

Predictive Art Bot. A call for artworks that interpret AI-generated concepts | The Aesthetic Ground | Scoop.it
Predictive Art Bot invites artists to collaborate with a bot, interpret some of the most puzzling/exciting/provocative tweets and turn them into real prototypes, drafts for impossible projects, liv…
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A second coat: why painting is the comeback art of the 21st century

A second coat: why painting is the comeback art of the 21st century | The Aesthetic Ground | Scoop.it
It tends to be ignored by art prizes, but painting is trendier than ever – and makes conceptual art look elitist and out of touch
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Meet the Artists Who Have Embraced Artificial Intelligence

Meet the Artists Who Have Embraced Artificial Intelligence | The Aesthetic Ground | Scoop.it
Sam Kronick has a bunch of rocks arrayed in front of him on a raised desk in his Oakland studio. He’s an artist and his plan is to sketch the rocks, but not with pen and paper. He and his artistic partner Tara Shi are going to do a 3D scan of them so that an artificial intelligence program can map their contours, learn to recognize rocks and then start generating its own craggy depictions.

The project is deceptively simple: trying to get artificial intelligence to make nature art. But it’s also a way of figuring out the limits of computational creativity. Kronick and Shi are using a neural net, a computer program loosely modeled on biological neural systems like the human brain. A given neural net needs to be trained on data; that could be the shape of a lot of rocks, a massive trove of Google Images, or hundreds of thousands of search terms, depending on what the neural net will be used for. Then, basically, it thinks in layers, with each layer working on a different aspect of whatever it is the network is analyzing (for instance, if a network were learning to identify rocks, one algorithm may try and find the texture of a rock, another different colors on its surface, and so on).

The immediate task has quickly become tricky. When a software program is doing face detection, it’s pretty obvious whether it’s working or not. But asking a computer to make rocks is more complex, says Kronick, because it raises ontological questions. “What is a rock? What matters about a rock?” says Kronick. “Why is that as much of a rock as these are according to this model that we’ve built?”

Via Wildcat2030
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When erased data come back to haunt you

When erased data come back to haunt you | The Aesthetic Ground | Scoop.it
Everyone knows about cybercrime and how owning networked computers and mobile devices makes you a potential victim of bank fraud, identity theft, extortion, theft of confidential information, etc. …
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