EITHER WE INSPIRE OR WE EXPIRE (2015) by artist Liam Gillick and data journalist Nate Silver considers technological failure and its lack of visibility in a society obsessed with success.
Created as part of Rhizome'’s Seven on Seven conference, which convenes leading artists and technologists for high-level collaborations, this web-based project draws on a selection of words handpicked by Gillick and Silver—such as THE .COM FOR MOMS, ASSASSIN VAPORS, DRONE CON, and WRAPIPEDIA—from a database of inactive trademark applications.
Gillick and Silver embarked on the project by taking one of the questions commonly addressed using statistical analysis—How can we reduce risk?—and inverting it, asking instead: How can we guarantee risk? Applying this question to the creative process, Silver observed that our understanding of innovation suffers from "sample bias": we have a distorted perception of the success rate of new ideas because only the successful ones, or the ones that change the game or disrupt an industry, are discussed. Thus, failure in creative production and innovation represents a "dark corner" for statisticians.
The final work in the "Brushes" online exhibition.
Sara Ludy, Acid Cloud (2015, digital video) embedded on rhizome.org.
Sara Ludy's video works will be on the front page of rhizome.org all week as part of the ongoing online digital painting exhibition "Brushes," presented by Rhizome and the New Museum for the First Look series.
For this series of abstract video works, originally created for the online collaborative w-a-l-l-p-a-p-e-r-s.net, Sara Ludy begins with images created in Adobe Photoshop using the "Difference Clouds" feature, which alters color levels in an image according to cloud-like patterns. This software-generated image is then imported into Adobe Aftereffects, where Ludy adjusts preset parameters to create these swirling cloud patterns. In part, the works are an investigation of the aesthetics inherent in the software tools—but unlike artists such as Cory Arcangel, who previously explored such "default" aesthetics in his Photoshop gradient series, Ludy allows more latitude for her own improvisation, seeking out visual complexity that transcends the seemingly mundane origins of her imagery.
Joe Hamilton's Indirect Flights is on the front page of rhizome.org through Sunday, as part of the ongoing online digital painting exhibition "Brushes," presented by Rhizome and the New Museum as part of the First Look series.
All of the works in "Brushes" are paintings made on the computer and shown primarily online. The exhibition focuses on works that are derived from an artist's bodily gestures, rather than those that are derived from code-based practices. In the case of Indirect Flights, the brushstrokes in the work are actually sampled from high-resolution scans of landscape paintings by notable historical figures like Van Gogh and Arthur Streeton. Thus, the gestures in this case were made long ago on canvas, and only later translated to digital form.
For his contribution to the ongoing online digital painting exhibition "Brushes," presented by Rhizome and the New Museum as part of the First Look series, artist Jacob Ciocci presents a series of gifs from his New Expressions series. The gifs are viewable on the front page of rhizome.org through Oct 4 and permanently on the online exhibition page.
The gifs are made by printing material from the internet, gluing, collaging and painting it, scanning the result back into the computer, animating it digitally, and repeating. He has applied this practice to works that are shown onscreen, such as these GIFs, while also creating objects for gallery display, some of which incorporate video projection into the work.