16/11/2013: WLASze: Weekend Links on Arts, Sciences & zero economics

This is WLASze: Weekend Links on Arts, Sciences and zero economics. Enjoy!


In recent WLASze (http://trueeconomics.blogspot.ie/2013/11/2112013-wlasze-weekend-links-on-arts.html), I wrote about the IBM's Watson super computer pushing out the limits of AI by getting into the areas of 'computational creativity' - not quite human creativity, but still… Here's an MIT Technology Review take on the same http://www.technologyreview.com/view/521596/the-secret-ingredient-in-computational-creativity/

Ages ago I used to do some work trying to figure out what exactly Waston's capabilities can be used for (http://trueeconomics.blogspot.ie/2011/02/13022011-what-jeopardy-champ-can-do-in.html). As I found out, the bounds to computation are that computation is bounded - in other words, computational systems are still based on continued iterations of pre-set space of data. Computers lack the power of creation no matter how much power of combination is granted to them.

Thus, culinary exploits of a computer are fun and good, bye more important question, however, remains the same as before: what is creativity in the first place… The real breakthrough for the AI will arrive when computers start asking that, rather than answer reducible problems of matching traits to combinations of various substances.


Now, let me see… here's an example. "Legacy Machine N°1 was conceived when Maximilian Büsser started fantasising: "What would have happened if I had been born in 1867 instead of 1967? In the early 1900s the first wristwatches appear and I would want to create three-dimensional machines for the wrist, but there are no Grendizers, Star Wars or fighter jets for my inspiration. But I do have pocket watches, the Eiffel Tower and Jules Verne, so what might my 1911 machine look like? It has to be round and it has to be three-dimensional: Legacy Machine N°1 was my answer."" Take a look
http://www.mbandf.com/machines/legacy-machines/lm1/#/about

Of course, you might say that there is reductionism going on here: the author took specific time periods hallmarks and reduced them to physical design semiotics, to graphic and industrial markers. The issue, however, is that both the inputs and outputs were qualitative, not quantifiable, in their very nature. And as a result, translation from inputs to outputs required much more than an algorithmic search-and-match, but an aesthetic narrative, leap of faith, belief, discontinuity.


Non-reducibility of art follows across both the creative dimension and descriptive compositions. Example: John Pawson's minimal St Moritz Church photographed during a choir rehearsal:
http://www.dezeen.com/2013/11/15/st-moritz-church-john-pawson-photography-hufton-crow/

The point of this is that with true art, one does not really know where the creation ends or begins. One can have reference points or interpretative meanings assigned to work, but one cannot have re-traceable deterministic path from a work of art back to the points of data origination that inform that work. In the case of AI - one can and indeed the record of the pathway exists.


In mathematics, this goes to the heart of the nature of countability, infinity and infinite sets. Mathematics distinguishes different degrees of infinity - something unique to the subject. Artists inhabit the world that allows for them. Computers, however, are able to function only in the world with countably infinite systems in them. Here's a quick and dirty article on the difference in sizes of various infinite sets: http://www.scientificamerican.com/article.cfm?id=strange-but-true-infinity-comes-in-different-sizes and more entertaining version: http://www.newscientist.com/article/mg21128231.400-ultimate-logic-to-infinity-and-beyond.html#.UoeJ3JRHBF8

Let me add that if you extend the above argument to include power sets, then the set of possible infinities becomes infinite itself and the size of possible infinities becomes infinite.


Amazing beauty of juxtaposition: content vs context in Max Sher's photographs. See series Amerika:

Russian Palimpsest:

Your spring will never end:

I Will Drink To Your Decline:

See more at http://maxsher.com/work


How fast does the Earth rotate? Geeky answer to a child-like innocence of the question: http://imagine.gsfc.nasa.gov/docs/ask_astro/answers/970401c.html but someone, please tell NASA that designing a website can be… oh… so exciting… (as opposed to simply plugging text into a tabulated space presented like some sort of a proto-socialist elections leaflet asking you to support your only candidate choice from your only political party…


And just to keep track of the past propaganda the WLASze unleashed on you, here's a WSJ article on the Detroit revivalist design shop Shinola:
http://online.wsj.com/news/articles/SB10001424052702303618904579169660144850526
I love these guys and has covered them in WLASze: http://trueeconomics.blogspot.ie/2013/11/10122013-wlasze-weekend-links-on-arts.html What an awesome merger of design, tradition, and sentimental wealth of Detroit…


And another self-referential note. Readers of the WLASze know I have been critical of Banksy's foray into NYC with 'artist in residence' concept. I love, this, however: http://www.foodrepublic.com/2013/10/11/banksys-latest-nyc-art-installation-takes-aim-slau?utm_source=outbrain.com&utm_medium=partner&utm_campaign=CPC What an awesomely invasive push through the urban mindscape.

It's "Sirens of the Lambs"… pitch-perfect…

The latest in pre-apocalyptic disaster-state living schematise is upon us, courtesy of a student's warped (vino? or "…two bags of grass, seventy-five pellets of mescaline, five sheets of high powered blotter acid, a salt shaker half full of cocaine, and a whole galaxy of multi-colored uppers, downers, screamers, laughers... and also a quart of tequila, a quart of rum, a case of Budweiser, a pint of raw ether and two dozen amyls. Not that we needed all that for the trip, but once you get locked into a serious drug collection, the tendency is to push it as far as you can," as Hunter S. Thompson defined a perfect condition for tripping out of space) imagination and via Woldless Tech (the place where Big=Great and Invasive=Sensitive): http://wordlesstech.com/2013/11/07/amazing-eco-friendly-walking-metropolis/
"An amazing eco-friendly walking metropolis" that is actually non-amazing (beyond the scale) not eco-friendly non-metropolis:

But, to be fair to the WorldlessTech, they have some actual pearls: http://wordlesstech.com/2013/10/30/famous-logos-communist-regimes/. The humour is spot on most of the time…

This alone is worth coming back to the site…


And for the last bit… an absolutely stunning project via Bot & Dolly here: http://www.botndolly.com/box
A live performance exploring "the synthesis of real and digital space through projection-mapping onto moving surfaces". WATCH IT! From the Box to Levitation to Intersection to Teleportation to Escape…

Enjoy!

21/6/2013: Weekend Reading Links: Part 1

The first post of my regular weekly feature of the Weekend Reading Links On Arts, Sciences and Zero Economics:


Let's hit science bit (ok, rather technology) first: IBM's famed Watson is getting into a museum: http://www.computerhistory.org/atchm/ibms-watson-jeopardy-computer-comes-to-chm/
I remember being at IBM when Watson played the Jeopardy rounds. It was amazing. I also recall working on Watson's capabilities and deployment in finance for deep risk pricing. As my memory tells me, the code for Watson's brilliance was written by a team from Ireland.


I know, I avoid dealing with economics here, so treat this as not a note about how art is a fantastic example of high value-added exports, but as a story about globalization of art's language and acquisition and exchange of knowledge: http://www.theartnewspaper.com/articles/Royal-Academy-in-talks-with-potential-Moscow-partner/29952


Art meets design: http://wordlesstech.com/2013/05/24/jaguar-inspired-artwork-unveiled/
I was supposed to speak about the economic dimensions of design (including industrial design) at http://birmingham-made-me.org/ this week, but had to withdraw for personal reasons. Really bummed!


An amazingly consistently thoughtful inversions of Jan Kriwol: http://wordlesstech.com/2013/05/14/unique-universe-by-innovative-polish/

A simple trick of inverting the focal point to create a juxtaposition between expectation and realization. Pure orthogonality works.


Is it art? Well, I am not sure. But it has meaning. It has its own language, its own semiotics, its own passions, beliefs etc. So is it art?
http://likes.com/misc/prison-tattoos-and-their-secret-meanings
I am not sure. But I do recall how much amazement I experienced when I first time looked at prison tattoos from the point of view of attempting to understand them. For years, seeing them on beaches around the USSR, I grew up on a steady diet of rejecting these expressions of personal lives as being vulgar, invalid, something to be permanently kept below my domain (all consisten positions of the Russian intelligentsia's conservativism in the face of both reality and modernity). And then, years later, there I was in a UCLA classroom of Professor Mascaro, reading about Russian prison tattoos and writing an essay on the link between liner logic and their compositions... Still remember that! And the strangely correlated across time and space St Pat's day when myself and Professor Mascaro were the only two people in a class, not wearing green... Many years fast forward, here I am in my Dublin kitchen posting about prison tattoos, remembering Professor Mascaro and wondering... is this art?..


A.A. Gill is a form of narrative that is art. And here he is with a thesis of America the Marvelous http://www.vanityfair.com/culture/2013/07/america-with-love-aa-gill-excerpt?mbid=social_twitter
Worth a read, as always.


I wrote before about light art, Dan Flavin (here) in particular. Here's James Turrell - another master of the medium - and he is http://www.guggenheim.org/new-york/exhibitions/on-view/james-turrell

Back in 1999 myself and MrsG had a joint entry at a group exhibition in Baltimore, using light as part of installation. The tile was Mutatis Mutandis, if I recall correctly, and it lived for about 5 minutes, subsequently knocking out lights in the entire multistory building in downtown Baltimore... the party went on... Turrell's work is striking enough to knock daylights out of your senses of space and dimension. If in NYC - a must see!

Guggenheim's show completes an unprecedented sequence of installations undertaken by Turrell that started with LA's LACMA, followed by Houston's MFA within a month and then onto NYC to Guggenheim - all across the impossible span of just 3 months. Impossible, because the entire installation of this retrospective requires rebuilding rooms, halls, spaces spanning 92,000 sq feet.

Here's an image from Houston:

Let me end this post on accidental art http://www.businessinsider.com/14-pictures-of-our-crowded-world-2013-6
The first image is fantastic. Absolutely, Gursky-like (link). As is number 9 and number 12 and 13. And number 7 is Missoni-like or better yet Morris Louis in gamma and linearity of the core movements. Yes, yes, Michael Wolf deals with density, especially in his Hong Kong series... that, perhaps, next week?

End of this post... stay tuned for the second part tomorrow and read...