F-117 Nighthawk Model by TheVNPrinter www.thingiverse.com/thing:255102 (CC-BY-SA).
incoming! codeword blim roll 0 36 0 manouver 0 36 0 deliver set // Main orders load "F-117.stl" camouflage "MacOS.png" //roll 0 180 0 manouver 1 0 0 blim 10
Run, don’t walk, to get a subscription to the new quarterly art/technology/weirdness journal Hack Circus. It’s like the Fortean Times as published by Make Magazine, or Mondo 2000 by Strange Attractor Journal. Issue 2 is just out and contains articles on the nature of reality, choreography as code & vice versa, and personality mimicking bots on Twitter amongst other things. I can’t recommend it highly enough.
I have placed the hash of “God” into the Bitcoin Blockchain:
This proves that God exists.
Rhizome featured Facecoin in an article on digital currencies and art. They also mentioned “_MON3Y AS AN 3RRROR | MON3Y.US” and “Computers and Capital“, which are the last two shows I’ve reviewed for Furtherfield.
I’ve fixed more of the outstanding issues in Surgical Strike. And I’ve make an Emacs mode for editing .strike files and executing them.
I’ve also documented the language and taken this opportunity to change a feature of the language that I was never happy with, although I haven’t updated the code examples to reflect this yet.
I’ve updated the 2008 remake of my 1996 artistic programming language “Surgical Strike” to compile on modern versions of GNU/Linux.
It makes things like this from stealth bombers and old computer company logos:
incoming! codeword blim manouver 0 18 0 roll 0 18 0 deliver set // Main orders load "f-117.dxf" camouflage "MacOS.png" roll 0 90 0 manouver 0.1 0 0 blim 22
glitcherature-mode for Emacs has been updated to add new functions for applying multiple commands to words, sentences and paragraphs, randomly or in order. There are also new commands to sort characters, to copy structure from one text another and to render a falling rain effect.
You can get the code and instructions here:
Here’s an extreme example of what used to be Sherlock Holmes.
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EeElt AYeSeSh EecliPsE SAn dpr EdOMInaTE SThew holE OF hERSex ons Adt atT HPFRT
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aRIYwerE Abho,RRenttOHi S ColDPreCi sEbuT adMi rv inGmacH NCet Min tewor
SHtaK, eIt the mostper fECt re aSonInGA Nd OBSER LfiNaF, INseHA tiThO NHl dEa
SSeENbuTas Al OVE rhEw, oUl dhaV ep laCe dhIMSEA NDAanEA lTp oSwiREAd, ENa
vERSp, Ok eOftheSoftER PAssiONS saVeWi tHaGib EN Gth Esv eErf rHEYMe. es mom
IREBlEthI NGS , forTHeObSEr VErE xC elL ENTfo rd RAwiS, UCh ntiLsIoo mIn nohiSti
VNSAndacTION sBUtfORThetraInEDrEAS on ERToadmittR oD uCIArUiST nsT ITgfA cOwDE,
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orRWhiCHMightTh.Rowad ouBTUp onAl L HIsMe NTal rESUl SwouidI nT bSE noRtDI: sT
NSt iUmEntO R acRAck i No NEOfhIsO WnH IGhpoWe RLeNsE, AN DyE lTnoreEm Be tO
NEU RbM ngthA Na STR ongemOtIoNin an AtuREsuC hA ShisofDtbIh, eSA waSquus TI OnW
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I have placed the hash of my genome into the Bitcoin Blockchain:
This proves my existence.
Why visualise the Tate’s collection dataset?
The Tate is the UK’s largest art institution. The free and open release of Tate’s collection data shows just how far open data has come in the last decade, and makes a major resource available for study. This resource allows us to follow two lines of investigation.
The first is into the history of art, using the Tate’s collection as a model of art in general, particularly of British art. The Tate’s collection data describes the form, content, attribution and dates of a sample of art from the past several hundred years. This is a history of art, and as long as we place it in its historical context it can be a useful one.
The second is institutional critique, to analyse the Tate’s collection and contrast it with other collections and with other models of the history of art (verbal, data-based or otherwise). Rather than allowing or controlling for the historical context of the data this makes recovering and examining that context the focus.
It’s possible to succeed or fail at each, and neither requires taking the claims of Museums to represent history or of data to represent reality at face value or in a vacuum. Data visualisation and statistical analysis are ways of dealing with datasets that would take a human reader many years to examine. They are forms of rhetoric, but they are also useful tools.
With suitable modesty of aims and suitable reflection on the historical and political contexts which have given rise to our tools and materials, let us begin…