I recently discovered Ben Crosser.
Ben Crosser focuses on the cultural, social, and political effects of software.
He asks. What does it mean for human creativity when a computational system can paint its own artworks? How is an interface that foregrounds our friend count changing our conceptions of friendship? Who benefits when a software system can intuit how we feel? To examine questions like these, he constructs interactive experiences, machines, and systems that make the familiar unfamiliar, revealing the ways that software prescribes our behaviour and thus, how it changes who we are.
He has created a social network that works the opposite way to most. You are limited to 100 posts, there are no date and time-stamps, and no reason to connect or expand your network. As an interactive piece it is interesting, you can reply to people if you want. Replies don’t count toward your message limit.
In exhibitions of contemporary art, the “Anthropocene” has become a cliché, folded into the usual mix of art jargon. Recent exhibition titles that include as subtitle some variation of “art and climate change” or “art and the Anthropocene” are too numerous to list. The rhetorical construction alone is telling. Framing the climate as a distinct concept for art, another notion to explore, creates an illusion of intellectual distance. But the reality of climate change isn’t a topic for some art to address; rather, it is a historical condition that informs all contemporary art.
My flickr stream is one that is highly curated. I look for similarities or disparities that tie the images together. I treat my flickr stream as a 24/7/365 gallery.
Using Lightroom it is easy to duck and weave around and collate worthwhile images that can then be later drawn upon to upload. Tools like Lightroom and Aperture have made the process possible. Otherwise locating specific images in my unwieldy 200000+ image library would be nigh on impossible.
In 2009, it seems I was working in and around the Docklands precinct of Melbourne. Using colour film and my Hasselbald. This work is likely to sit in my archive its use undetermined. I had begun working there as early as 1993 or so. In those days the site was still a lingering industrial wasteland. See image below shot on 5×4 and black and white film.
What seems to be real in the photograph is always a simulation of something else. We have shown how this way of thinking provided a theoretical basis for simulation methods in contemporary art and photography. The exploration of staging, quotation, repetition, copying and plagiarism typifies the postmodern trends of the 1980s. These anti-realist strategies found a rationale in the conceptual art movement’s critique of documentary methods and the emergence of sceptical attitudes to the truth claims of photography.
pg 169. RETHINKING PHOTOGRAPHY: Histories, Theories and Education, by Peter Smith and Carolyn Lefley published 2016 by Routledge, 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN, ISBN: 978-1-315-72241-2 (ebk)