Birdwise

Random postings and pages linking to my art, music, curatorial work and writings.

When someone asks, ‘what’s the use of philosophy?’ the reply must be aggressive since the question tries to be ironic and caustic. Philosophy does not serve the State or the Church, who have other concerns. It serves no established power. The use of philosophy is to sadden. A philosophy that saddens no one, that annoys no one, is not philosophy.

Gilles Deleuze, Nietzsche and Philosophy,  (via thepostmoderntestament)

I swear to God this is the single most quoted quote from that book. I quoted it on here when I read it several years ago, and I’ve seen different runs of it, posted by different OP’s circulate through my dash so many times. This one cuts short though! There’s like a full paragraph of excellence that follows. 

(via tanacetum-vulgare)

(via tanacetum-vulgare)

There is not a world that contains time; there is a flow of time, which produces ‘worlds’ or durations. Time is a virtual whole of divergent durations: different rhythms or pulsations of life which we can think or intuit. The everyday illusion is that life flows from one moment to the next and that we exist ‘in’ some general line of time. We can be freed from this illusion of a homogeneous, linear and undifferentiated
time only by thinking of time as an intensive flow…
We tend to spatialise time. We map or represent time by the
movement of the sun across the sky, the hands moving around a clockface or some other moving body. In doing so we locate time within the world we perceive, within an actualised world of images.

—Claire Colebrook re. Deleuze (via inpraxis)

(via deleuzenotes)

We need the power of modern critical theories of how meanings and bodies get made, not in order to deny meaning and bodies, but in order to live in meanings and bodies that have a chance for a future.

—Donna Haraway, Simians, Cyborgs, and Women: The Reinvention of Nature (via rhizombie)

(via tanacetum-vulgare)

thejogging:

vacuum sealed arena HOMME magazine with 6 inch SUBWAY MEATBALL sandwich and promiscuous penetrating rose (living at the edge or move over), 2013
•º•
BUY IT ON ETSY NOW

thejogging:

vacuum sealed arena HOMME magazine with 6 inch SUBWAY MEATBALL sandwich and promiscuous penetrating rose (living at the edge or move over), 2013

•º•

BUY IT ON ETSY NOW

thejogging:

Apple Mouse (formerly Mighty Mouse) and mousepad, 2013
Mixed Media
≡

thejogging:

Apple Mouse (formerly Mighty Mouse) and mousepad, 2013

Mixed Media

WHAT DOES IT MEAN TO BE COMFORTABLE?

youmightfindyourself:

By MAGGIE KOERTH-BAKER
NY Times, Published: January 25, 2013

In 1999, government workers in Mexico took their last officially sanctioned siesta. Until then, it was normal for clerks and bureaucrats to take two- or three-hour breaks in the middle of the workday. Many of them went home for lunch, took a nap, then returned to their offices, working into the evening to make up for lost time. The siesta used to be commonplace in Spanish-speaking countries, but the tradition was already waning as Latin America’s economies developed throughout the ’80s and ’90s. As companies and governments modernized, they adopted the same schedules as their counterparts in other countries. Mexico failed to properly anticipate the effect this would have on energy consumption.

By shifting work from the sweltering afternoon into cooler evening hours, the siesta provided a kind of de facto air-conditioning, says Elizabeth Shove, a professor of sociology at Lancaster University in England. Getting rid of siestas makes people more dependent, during the hottest part of the day, on energy-intensive forms of cooling. Air-conditioning use in Mexico has skyrocketed since the siesta ban. In 1995, 10 percent of Mexican homes had A.C. By 2011, that figure had grown to 80 percent.

Shove studies the cultural and historical factors underlying sustainable living. Historically, she says, societies developed methods of dealing with their local climates, and those tools and behaviors became ingrained cultural customs. As the world becomes more interconnected, these customs are changing, and so is the definition of something as elemental as comfort.

That’s right: there is no universal definition of comfort, especially as it relates to temperature. Both Shove and Susan Mazur-Stommen, of the American Council for an Energy-Efficient Economy, told me two decades’ worth of research data clearly demonstrate that different people experience the same temperature differently. People report being comfortable all over the thermostat, from 43 degrees Fahrenheit all the way up to 86.

“What people count as comfortable is what they get used to,” Shove says, and this becomes obvious when you examine different societies side by side. In 1996, Harold Wilhite, director at the University of Oslo’s Center for Development and Environment, published a paper comparing energy-use cultural norms in Oslo, Norway, and Fukuoka, Japan. The two cities are similar in population size, level of industrial development, spending power and average home size. But southern Japan is warmer than southern Norway, and Japanese culture is very different from Norwegian culture.

Wilhite found that Norwegians placed emphasis on something they call koselighet — which roughly translates as “coziness,” but with certain social connotations. Part of koselighet is making your home a place other people want to visit and spend time in. In Oslo, that means making sure nobody thinks your house is cold. Ever. Half the households Wilhite sampled didn’t turn the thermostat down before bed. Nearly 30 percent kept it turned up even when they weren’t home. In Fukuoka, where winters are comparatively mild, there wasn’t a cultural objection to entering cold rooms. In fact, homes in southern Japan usually didn’t have central heating at all. On chilly nights, families gathered on heated rugs, or around a kotatsu — a table with a built-in heat element.

Koselighet also concerns the quality of light. The Norwegians that Wilhite interviewed told him that ceiling lights felt cold. Not one subject used them in the living room, where instead they had incandescent table and floor lamps to create little golden pools throughout the room. On average, Oslo living rooms had 9.6 light bulbs. Meanwhile, in Fukuoka, the living rooms had an average of only 2.5 light bulbs, mostly more energy-efficient fluorescents fitted into the ceiling. There, people prized visibility, and the color of the fluorescent light had no temperature connotation at all.

But Wilhite also noted that cultural understandings of comfort are changing. Even back in 1996, he reported that people in Fukuoka were buying more space heaters, allowing family members to warm up by their lonesome. And they were buying air-conditioners, something that hadn’t been normal, even in a city with hot summers. Although many of Wilhite’s Japanese subjects believed A.C. units to be unhealthful and unpleasant, they were starting to expect their presence in any prosperous, modern home — a byproduct of globalization, according to Shove and other researchers.

Along with air-conditioning, globalization has also helped popularize something called Ashrae 55: a building code created by the American Society of Heating, Refrigerating and Air-Conditioning Engineers, to determine the ideal temperature for large buildings. The standard, which has set thermostats across the globe, is hardly culture-free. It’s based on Fanger’s Comfort Equation, a mathematical model developed in Denmark and the United States in the 1960s and ’70s, which seeks to make a very specific worker comfortable: a man wearing a full business suit.

Consider the impact on office workers in hotter countries, where a thobe or a dashiki might be perfectly acceptable business attire. They might start dressing differently, which makes them less comfortable outside and at home, which in turn makes them more likely to seek out air-conditioning. It also affects women. “In spring, it’s socially expected that women will wear thinner blouses, skirts, open-toed shoes,” Mazur-Stommen says. “But the building temperature is set for men, who are assumed to be wearing long-sleeved shirts and closed-toed shoes year-round. If everyone just dressed appropriately for the weather, we wouldn’t have to heat or cool the building as much.”

Fortunately, the same forces that drive people to consume more can also goad them toward sustainability. Wesley Schultz, a professor of psychology at California State University, San Marcos, has spent the last decade studying why people choose to be more energy-efficient — turning off lights when they aren’t in the room, for instance, or buying Energy Star appliances. Over and over, he has found that the most powerful force for positive change is to tell people how much energy their neighbors are using, and to make sure people know that those neighbors value energy efficiency. People in the United States don’t think this form of peer pressure works, Schultz told me. “But when we actually study them,” he said, “we see they’re wrong.”

technical difficulties - artforum.com / in print

towerofsleep:

In the new January edition of Artforum, Lauren Cornell and Brian Droitcour responded to Claire Bishop’s controversial “Digital Divide” article from the September issue:

“…It was discouraging, after reading several pieces on Artforum’s history of developing critical languages to address emerging art practices, to then arrive at an essay that is clearly not rising to the challenges of contemporary art practice and our new visual environment. The current rise of amateur cultural production and the accessibility of tools for creating visual media pose new challenges for the art world. Institutions should serve not only as custodians of the past, determining how art from their collections is shared and experienced online; they must also work with artists to become guides to the present, shaping conversations around developments in visual culture and identifying critical moments. From her position, Bishop can only picture such a situation as a “utopia,” and not as the thoughtful response of cultural workers to their social and technological environments. She ends on an apocalyptic note: “At its most utopian, the digital revolution opens up a new dematerialized, deauthored, and unmarketable reality of collective culture; at its worst, it signals the impending obsolescence of visual art itself.”

What exactly does “visual art” mean to Bishop? When she discusses Kenneth Goldsmith’s conceptual poetry in the paragraphs immediately preceding this dire conclusion, she clings to the traditional barriers between literature and art. With poetry, she writes, “the flow of capital is meager,” whereas “visual art’s ongoing double attachment to intellectual property and physicality threatens to jeopardize its own relevance.” Digital technologies limit the distinctions between words and images to file formats, and artists who work with them take advantage of this flattening. Bishop, however, strengthens the divisions between visual and verbal arts, while erasing the distinction between art and its market structures—a narrowness of perspective that goes along with her easy dismissal of digital art as a “specialized” field. Most professors of art history can attest that the social contexts within which art can exist are far more varied than today’s art market and high-profile institutions. Art isn’t in danger of irrelevance. Positions like Bishop’s are.”

***

Claire Bishop responds:

“This letter is typical of the online feedback that has followed the publicationof my article, so I will use this as an opportunity to answer both. To recap myargument: “Digital Divide” examines the mainstream art world’s disavowal ofdigital media in its ongoing fixation with the analog, the archival, the obsolete, and predigital modes of communication and presence. I argue that contemporary art’s attachment to these modes is largely a consequence of its being wedded to a market that prefers and privileges auratic forms. The article is first and foremost a critique of the dominant tendencies in contemporary art since 2000, as found in museums, galleries, and biennials: those that receive the majority of curatorial, critical, and art-historical attention. It’s not an article about new media or digital art.”

[…]

“Rather than simply affirming new media’s ubiquity, we need analyses of the way in which—as Hito Steyerl suggests—we are becoming one with the pixel, and of what this implies for anthropocentric models of perception. Without these investigations, the “apocalyptic” conclusion to my article only remains corroborated by Cornell and Droitcour’s argument. Because as long as there is a mainstream art world that is still invested in the analog, the archival impulse, and “dead tech” and that is slow to invent new vocabularies with which to talk about perception in the digital era, there will have to be a self-marginalizing alternative called new media art that asserts its own relevance for the future. One is obsessed with the technology of the past, the other with the technology of the present; they are mutually constitutive products of similarly blinkered thinking. In this light, the inability of both to speak meaningfully about our contemporary experience of the digital seems to be a structural blind spot, produced both by the mainstream art world’s insistence on individual authorship and auratic materials and by new media niche advocacy that misses the point, fixating on the centrality of digital technology rather than confronting it as a repertoire of practices and effects that increasingly lodges capitalism within the body.”

I have huge respect for Cornell and Droitcour as well as for Claire Bishop. I think both camps make very trenchant points. I wish they didn’t have to be so acrimonious about it, but I think the back-and-forth is very productive.

I think it really is the case, as C&D point out, that Bishop seems blind to the many artists, institutions, and projects that engage fruitfully with the condition of digital mediation without merely fixating on the “new” and strictly technological aspects of new media. However, as Bishop points out, there certainly is a new media ghetto that does fixate exclusively on those aspects. That these different spheres exist may not be a bad thing, especially given that they’re communicating more than ever these days.

I’m particularly intrigued by Bishop’s last sentence, in which she characterizes digital technology as “a repertoire of practices and effects that increasingly lodges capitalism within the body.” That sounds like the beginning of a very interesting line of inquiry and I would like to see more in that direction.