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  • manuellnon 18:50 on 25 November 2014 Permalink | Reply
    Tags: akira, aoto oouchi, , david cronenberg, david joselit, greg lynn, jeanne dunning, , tony oursler   

    about the blob 

    When you gaze at the blob, your eye no longer has a focal point because the blob has no focal point. You see right into it. You may keep loosing your sight in a myopic blur. In this way the blob can escape even though it moves very slowly and with no apparent direction. [1]


    A blob is an object without a distinct shape, generally represented as a slime or jelly, just as in the 1956’s famous film by Irvin Yeaworth.
    The quote above is from a 2005 text by Tony Oursler, about the influence of the blob and its many features in his art research; these deformed beings generate “gut reactions” in people who see it, described as “your first response to things before you examine the facts intellectually”.
    As a creature born throughout the 50’s anti communist wave, the first cinematic blob concept was about a growing alien amoeba crashed from outer space in a meteorite ingurgitating the people of a small village. From this flesh-eating mass, the blob could slightly evolve in many directions, changing its function and relation with the body.
    Following a cinematic experience on the blob, in David Cronenberg’s “eXistenZ” its shape-deformed game pods translates the physical body in a virtual reality game; these organically grown slimy pods acts like blobs connected to bodies via a umbilical cord. A similar connection appears in Jeanne Dunning’s photographies, where unidentified blobs lays and interacts on female bodies. Both these examples switches the blob from a swallowing jelly to flesh mutation, eruption, prothesis. In Katsuhiro Otomo’s post-apocalyptic manga “Akira” the blob appears as a biological form generated by powers growing too rapidly inside a body to contain it.




    What are these forms generated by? Are from inside or outside, within or without?
    In Greg Lynn’s architecture research the blob is related to the staging of “a becoming of form through variable intensifications and manipulations in a continuous structure, […] blobs are surfaces that turn into objects by sticking their surroundings” [3], following a David Joselit reasoning this is a property of objects derived from a population of images in addiction to practices such as selecting, reframing and versioning. The effort of melted images and glossy blob organisms appears in the work of digital artists like Aoto Oouchi, which uses a fetishized pop aesthetic to create objects and masses of pictures.
    The image circulation is  once again the centre of a tendency about objects and space, in an organic process of circular recombining of pre-existent elements. Furthermore, data or image originated blobs and molds fits perfectly with an interpretation of profiling.





    [1] T. Oursler, Blob, 2005 http://tonyoursler.com/files/blob.pdf
    [2] still from eXistenZ, 1999
    Jeanne Dunning, The Blob 4, 1999
    still from Akira, 1988
    [3] D. Joselit, After Art, Princeton University Press, Princeton 2013, pp. 26-27
    [4] a work by Aoto Oouchi from his Tumblr http://aotooouchi.tumblr.com/
    Greg Lynn, Blowball Pavillion, 2008

  • manuellnon 2:34 on 2 October 2014 Permalink | Reply
    Tags: david joselit, , , hito steyerl, , philippe parreno, ,   

    about online identity 

    Life online in web 2.0 tends to be a real time cloud storage of your life, a digital mirror of your everyday experience. Social media corporations owns your profile data in order to reshape the users’ path, and keep yourself connected with your physical-world-identity in the best way.
    Facebook’s naming policy requires you to use your legal name, asserting that you should only “send friend requests to people you have a real-life connection to, like your friends, family, coworkers or classmates” [1].
    Avatar changes name to profile picture, privacy settings increases; beside online-based communities, the real-world communities conquer the online world, restoring a more traditional communication model under straightforward policies.


    seth_price [2]


    In 2011 the MIT journal October published a piece by David Joselit, Carnegie Professor of the History of Art at Yale University, wherein while writing about Seth Price’s works he distinguished two terms: silhouette and profile.

    “Silhouettes have existed for ages, but profiling is modern—dating from the nineteenth century.
    A silhouette is a bounded shape that sharply delineates an inside from an outside: the information it carries
    lies entirely in partitioning a field. The verb “to profile” denotes the imposition of such a finite shape onto a set of perceived statistical regularities, as when scientists plot a straight line through an irregular array of data points, disciplining and abstracting inchoate (or sometimes merely imagined) patterns. The implicit violence of such projections is conveyed by the connotation of profiling in police work, where persons who belong to particular groups—be they organized by ethnicity, age, economic status, or gender—are believed to be more likely to commit a crime and consequently are more frequently treated as criminals. Profiling
    imposes a profile on populations of data (including visual data)” [3].

    This is the same model adopted by Google’s PageRank, and most of social network’s statistics, reflecting your data on search results, ads, dashboards, and so on. Your browsing history defines what you’ll find next. Similarly, profiling is related to latest improvement in face recognition, or new smart phone camera technologies capable of matching faces and shapes from your previous social media pictures, to clean images from noise [4].

    Your profile becomes more real than your-real-self, providing your online based skin, weaken your ghost leaving just a shell of data.


    10 annlee [5]



    [1] Facebook Help Centre. http://www.facebook.com/help/www/101344836677357/

    [2] Seth Price, Untitled, 2008

    [3] David Joselit, What to do with pictures, October 138, 2011, pp. 81-94

    [4] Hito Steyerl, The Spam of the Earth: Withdrawal from Representation. http://www.e-flux.com/journal/the-spam-of-the-earth/

    [5] Philippe Parreno, Anywhere Out of the World, 2000

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