To remember and forget: lecture 5

Transcript

1. To remember and forget: Memory and machine Lecture 5 Taeyoon Choi NYU ITP 10.6 2014
2. 1. Review 2. Affective memory 3. Presence 4. Object 5. Space -Break- 6. Project: Device to help forget
3. Last week’s special visitor http:/ /TegaBrain.com
4. Class picnic
7. Feta  cheese  and  cured  olives  help  give  the  pasta  salad  a  dis3nctly  savory  taste,  which  is  rounded  out  by  the  tangy  dressing  and  various  fresh   and  pickled  vegetables  spiked  throughout  the  mix.  A  combina3on  of  different  vinegars,  oils,  and  cheese  result  in  a  slightly  sharp  but  en3cing   smell.   This  pasta  salad,  originated  by  my  Aunt  Paula,  made  an  appearance  at  every  family  gathering  during  the  summers  of  my  childhood,  and  it   remains  a  staple  dish  to  this  day  (on  trips  home  I  can  depend  on  finding  the  same  large  tan  tupperware  container  filled  with  pasta  salad  in  my   mother's  refrigerator.)  It's  one  of  those  dishes,  like  chicken  parmesan,  grapefruit-­‐sized  meatballs,  and  pasta  drowning  in  red  sauce,  that  has  no   place  on  an  authen3c  Italian  table.  It  is,  instead,  a  celebra3on  of  the  humble  abundance  my  family  found  at  the  supermarket,  the  kind  we  could   have  never  imagined  enjoying  only  one  or  two  genera3ons  ago.  My  aunt's  pasta  salad  is  a  decidedly,  undeniably  Italian-­‐American  inven3on,  just   like  my  family.  And  so  whenever  I  make  it  for  myself  now  in  New  York,  a  century  aLer  my  great-­‐grandfathers  (great  cooks  in  their  own  right,  I'm   told)  landed  here,  I  find  myself  following  them  back  home,  if  only  for  a  few  brief  bites.   Boil  pasta  for  approx.  9  min.  in  a  large  pot  of  well-­‐salted  water  un3l  al  dente.  Shock  boiled  pasta  in  ice  bath  or  with  cold  water.  Steam  broccoli   for  approx.  4-­‐5  min.,  then  shock  in  ice  bath  or  with  cold  water.  Wait  un3l  pasta  and  broccoli  reach  room  temperature,  then  combine  with  other   vegetables  and  feta  cheese  in  a  large  mixing  bowl.  In  a  separate  container,  mix  together  dressing  packets,  vinegar,  and  olive  oil  (per  instruc3on   on  packets).  Pour  dressing  slowly  over  bowl,  carefully  and  thoroughly  mixing  with  other  ingredients.  Add  salt  and  pepper  to  taste.  Cover  bowl   3ghtly  with  plas3c  wrap  and  refrigerate  for  at  least  8  hours  before  serving.  Best  enjoyed  chilled.   Pasta salad 24 oz short tri-color pasta 1 package crumbled feta cheese 1 can small black olives, rinsed and sliced 1 jar pickled yellow pepper rings, rinsed 4-5 fresh baby bella mushrooms, rinsed and roughly chopped 1 jar roasted red peppers, roughly chopped 1 package frozen broccoli florets, steamed 2 packets Good Seasons italian dressing Extra virgin olive oil Red wine vinegar Salt and pepper
8. “My  aunt's  pasta  salad  is  a  decidedly,  undeniably  Italian-­‐American  inven3on,  just  like  my   family.  And  so  whenever  I  make  it  for  myself  now  in  New  York,  a  century  aLer  my  great-­‐ grandfathers  (great  cooks  in  their  own  right,  I'm  told)  landed  here,  I  find  myself  following   them  back  home,  if  only  for  a  few  brief  bites.”  
10. communication communion community commons
11. Affect Presence Intensity Access Affect is delivered by Intensity. It’s the pre-personal, pre- emotion/feeling. It’s the fluid vehicle for emotional mechanism. Presence is the state or fact of existing, occurring, or being present in a place or thing.
12. Presence Models Object Space With some thoughts on the meaning and significance in our memory, we will look at models, metaphorically and literally, toward thinking about objects and space.
13. Technical objects Memory Forgetting Device Remembering System
14. Access Presence
15. Wendy Chun, The Enduring Ephemeral, or the Future Is a Memory,
16. Nam June Paik, Altered Piano http:/ /www.moma.org/explore/inside_out/2013/05/08/conserving-a-nam-june-paik-altered-piano-part-2
17. Wendy Chun, The Enduring Ephemeral, or the Future Is a Memory,
18. XFR STN at the New Museum http:/ /www.nytimes.com/2013/08/12/arts/design/xfr-stn-offers-a-digital-update-at-the-new-museum.html
21. http:/ /oneterabyteofkilobyteage.tumblr.com/ http:/ /contemporary-home-computing.org/1tb/ Olia Lialina and Dragan Espenschied, One Terabyte of Kilobyte Age
23. Wendy Chun, The Enduring Ephemeral, or the Future Is a Memory,
24. Alva Noe, Varieties of Presence
25. Presence Absence
26. “The world shows up for us. But it doesn’t show up for free. This is my main focus in this book. We achieve access to the world around us through skillful engagement; we acquire and deploy the skills needed to bring the world into focus.”
28. Presence is manifestly fragile. This idea will be developed throughout; it is a discovery. We spontaneously squint our eyes and shift our head and body position to keep things in view, or to get a better look at things that interest us. In this way we exhibit our sensitivity to the fragility of our access to the world.
30. We move and squint… we achieve access, stabilize our contact with the world around us.
32. We know it exists although we don’t see it or touch it. We see less than we think, we remember way less that we believe.
34. `
37. “This story kind of reminds of the whole hype around big data, quantified self.”
40. http:/ /www.olafureliasson.net/ Olafur Eliasson
41. http:/ /inigomanglano-ovalle.com/index.php?/projects/icebergs/ Iñigo Manglano-Ovalle, Icebergs
44. Juan Munoz Human presences are recreated and reproduced as objects with human quality. The objects are in turn made into immobile things, bag of stuff.
45. space of conversations, attention and presence between individuals.
46. the stuff carves out space, creating negative spaces: voids which in turn creates presence.
47. the objects are less direct representation of specific figures or situations but the theatrical recreation of relations and conversations.
48. human presence and object
50. Buckminster Fuller, World Game, 1961
51. Space Objects
52. Janet Cardiff, Her long black hair, 2004 www.cardiffmiller.com/artworks/walks/longhair.html
54. Download from phiffer.org/hlbh
59. https:/ /www.flickr.com/photos/lightwerk/28370730/in/set-640300
60. “In my view - even though Cardiff does not use any sophisticated computer, networking, or projection technologies - her ’walks’ represent the best realization of the augmented space paradigm so far. They demonstrate the aesthetic potential of laying new information over a physical space.
61. Their power lies in the interactions between the two spaces - between vision and hearing (what the user is seeing and what she is hearing), and between present and past (the time of the user’s walk versus the audio narration, which, like any media recording, belongs to some undefined time in the past).” ! - The poetics of augmented space, Lev Manovich, 2002
63. Space as memory object
64. The Jewish Museum in Berlin
65. “The architect put together a map which showed the addresses of Jews who were living in the neighborhood of the museum site before World War II. He then connected different points on the map together and projected the resulting net onto the surfaces of the building. The intersections of the net projection and the design became multiple irregular windows.
67. Cutting through the walls and the ceilings at different angles, the windows point to many visual references: narrow eyepiece of a tank; windows of a Medieval cathedral; exploded forms of the cubist/abstract/suprematist paintings of the 1910s-1920s. Just as in the case of Janet Cardiff's audio walks, here the virtual becomes a powerful force which re-shapes the physical. In Jewish Museum, the past literally cuts into the present. Rather than something ephemeral, here data space is materialized, becoming a sort of monumental sculpture.” Dialogue between Lev Manovich and Jenny Marketou via email, January 25 - February 4, 2002. Breeder (Athens), no. 5, 2002. http:/ /manovich.net/index.php/projects/breeder-interview
69. presence-less placelessness
74. http:/ /en.wikipedia.org/wiki/Homestead_Acts
75. Trevor Paglen, “Detachment 3, Air Force Flight Test Center, Groom Lake, NV; Distance ~ 26 miles” (2008).
76. National Security Agency on Fort Meade, Maryland
77. Trevor Paglen, Keyhole Improved Crystal from Glacier Point (Optical Reconnaissance Satellite; USA 186) (detail), 2008
79. Image as object
80. ultimate device for placelessness. minimizing any encounter with the place other than creating of images. banalities aside, has humanity reached new level of shamelessness?
82. Or simply continuation of our research and development in perception and representation?
83. Cory Arcangel, tl;dr, Team Gallery
85. For this New York exhibition, Arcangel has produced a body of work expanding upon his use of cultural and technological obsolescence as the source of an artistic vocabulary. In the gallery, he will be showing a series of works called Lakes. These sculptures consist of flat-screen televisions turned on their sides, displaying images taken from pop culture to which the artist has applied the Java applet “lake,” which creates a shimmering, seemingly liquid reflection along a horizontal axis. The effect is familiar but dated: something seen regularly on personal websites of the late 90's but rarely since. These works explore a tension in societal attitudes towards the preservation of culture: the obsessiveness with which we conserve and narrativize visual art and popular culture, yet dismiss technology as somehow adversarial to art and art-making. http:/ /www.teamgal.com/artworks/1232
86. http:/ /www.coryarcangel.com/downloads/Cory-Arcangel-OnC.pdf
87. As my recent Skrillex experience demonstrates, I might not be suitable in mind, body, and style for the front lines anymore, but as countless middle-aged men before have proven, that will not prevent me from obsessing over the music I loved at 17. So, yes, I’ll be that middle-aged guy—the one with gray temples, riding in his 1957 Corvette, or the one with the monographed Rolling Stone luggage—except I won’t be reliving the ’50s, ’60s, or ’70s. I’ll be reliving the ’90s, and I’ll be collecting techno 12 inches. They will be meticulously looked after, perfectly organized, labeled, bar coded, condition-checked, and stored under ideal conditions. In this—my own private archive—it will always be 1995. http:/ /www.coryarcangel.com/things-i-made/2012-065-audmcrs-essay
88. Project: Device to help forget
89. https:/ /www.youtube.com/watch?v=qgCFQ5no2jg
90. http:/ /en.wikipedia.org/wiki/Right_to_be_forgotten
92. https:/ /www.youtube.com/watch?v=UvhiRIT5DvU
94. Brody Condon, Level 5 https:/ /www.youtube.com/watch?v=J8YhmLAobPg https:/ /vimeo.com/17607945
95. Melanie Gilligan, Popular Unrest http:/ /popularunrest.org/
96. Seth Price, How to disappear in America
97. “There are many good reasons to disappear from society. There are many bad reasons to want to. There are many good ways to disappear from society and there are many bad ways to disappear. While I won’t delve too deeply into the whys of disappearing, I will cover my opinions on how to disappear successfully. ! This essay covers what I consider to be most salient points on how to disappear and remain successfully hidden in American society. “ (Susanne Bürner) http:/ /www.mottodistribution.com/shop/publishers/casco/vanishing-point-how-to-disappear-in-america-without-a-trace.html
102. Aram Bartholl, Hard Disk Crusher http:/ /datenform.de/blog/computer-art-of-today-hurt-me-plenty-opening-speech-by-olia-lialina/
104. Zach Gage, Lose/Lose 
 http:/ /www.stfj.net/art/2009/loselose/
108. Next week: Cybernetic dream
113. https:/ /github.com/tchoi8/RememberAndForget/ Material used for this slides were found on the Internet. I do not own images and text that have been used. The slide is shared for academic purpose and can be edited if there are copyright issues. Contact taeyoon@sfpc.io