[-empyre-] NEW ART CONTEXTS

Jaromil jaromil at dyne.org
Sun Sep 29 00:26:26 AEST 2019


dear empyres,

I'm busy for the past 10 years carving my own practice within the
domain of applied cryptography, digging a hole through the
accellerating and commodified practice of information processing and
digital stainless steel. Now the echo of Xav's voice, melted into the
soup of memories of our last encounter in Taipei, singelhandedly
stirred by Shu-Lea's finger, is pouring all over my tools and mixing
with stains of Kombucha and my lousy habits in workplace cleaniness.

I write you now with Dirt on my hands. The book by David Montgomery, a
geologist whose consciousness has been changed by the practices of his
partner just like Debra Solomon's work is changing mine. It felt
magical to watch her and Renate and volunteers of the Urbaniahoeve
collective digging the Pond in their food forest last month.


http://www.urbaniahoeve.nl/galerie-rode-lijst/


Unfinished... means also unpredictable. We never know what we will
find while digging Das Loch. In this pond, dug in Amsterdam Noord, a
place where the water table is supposed to be 70 centimiters below
ground, it took 2 meters to find wet sand. Go figure. It's now home to
lotuses and salamanders. I hope snakes will find home in there too,
but it is unlikely. Lets break the binary 1 and 0 perception by the
means of a muddy alchemic tale of dualism, by restoring the Second
Snake on the rod of Asclepius, by contemplating the moist space as an
endless in-between state. The Pond is called "Galerie Rode Lijst" and
is slowly becoming home to amphibious endangered species.

On Fri, 27 Sep 2019, fx at stwst.at wrote:

> ----------empyre- soft-skinned space----------------------
>
>    The present is the machine processing of information. It is the
>    result of Claude Shannon's information theory, which put us on
>    the wrong path. It is not a theory that takes us further in
>    dealing with media, it is simply a technology for transmitting
>    information. For me, an information theory would be an
>    examination of evolution.

At this point a genealogy of information theory would be much more
than recovering the traces of history that have been deleted from
wikipedia. It would be a *dangerous* political process that
recuperates the unfinished, the moist space and the extinct
software. It wouldn't be just the act of resistance to the
pop-commodity of cultural consumables, but a rebellion threatening the
status-quo of the digital-single market. It would be the City Workshop
against the Urban Planning, the complementary currency against IMF's
weird dreams of one measure for all sizes; it would be a new art
context where materials emerge through "spiral-shaped paths out of the
hole without any aids or supporting formwork".  It would be a new age
of Flux: Das Loch.

> Because life is negentropy and it developed our information.

Now cryptography nurtures itself of entropy and digs holes of darkness
through clear texts. More than developed information: the secret, the
unpredictable, the endless stream of hashes.

> To the present day, where the analogue world is reflected in the
> digital world. Information has become our working material. We don't
> know what information is, but we work with it. That is very
> dangerous. I cannot blame the economy if it only wants to profit
> from information. However, I would like to reproach my fellow
> artists for working with information in an unreflected way.
> 
> I see a new context in an analysis of this information. A new
> approach does not have to become religious or esoteric again. We
> must incorporate the continuity of our media criticism of the last
> decades into a new genuine information theory. Only through art do
> we have the opportunity to view information in a new and different
> way.

I took your text, Tanja and Xav, and mapped it to a point on the
Goldilocks elliptic curve. Its coordinates are now universally
verifiable, since we hold mathematics as the last standing universal,
perhaps to be dug. Here they are in Edwards notation:

{
    x = "b0f5c8d703e6345e2f3f2b5cdfa09d9a190f0594bdd8b3e463695b6533e2387a8d09dfe7d9306f3c6796f8446f163220795c3728c3f60506",
    y = "b355df2d2df685ee7537ac5c91a29791f761a8bc31987c79a33b4b77048696e372f6bb6d0ce079532f832f6a0ecb6fe81acb469ec00f3f0e"
}

better or worse, in binary base 2

{
    x = "1011000011110101110010001101011100000011111001100011010001011110001011110011111100101011010111001101111110100000100111011001101000011001000011110000010110010100101111011101100010110011111001000110001101101001010110110110010100110011111000100011100001111010100011010000100111011111111001111101100100110000011011110011110001100111100101101111100001000100011011110001011000110010001000000111100101011100001101110010100011000011111101100000010100000110",
    y = "1011001101010101110111110010110100101101111101101000010111101110011101010011011110101100010111001001000110100010100101111001000111110111011000011010100010111100001100011001100001111100011110011010001100111011010010110111011100000100100001101001011011100011011100101111011010111011011011010000110011100000011110010101001100101111100000110010111101101010000011101100101101101111111010000001101011001011010001101001111011000000000011110011111100001110"
}

I swear on my most precious painting of Diamanda Galas that there is
nothing esoteric in this. It is just a point on an enormous toroid,
which, indeed, happens to have a hole inside. I have attached the
zenroom script to generated it.

ciao



-- 
  Denis "Jaromil" Roio      https://Dyne.org think &do tank
  Ph.D, CTO & co-founder    software to empower communities
  ✉ Haparandadam 7-A1, 1013AK Amsterdam, The Netherlands
  𝄞 crypto κρυπτο крипто गुप्त् 加密 האנוסים المشفره
  ⚷ 6113D89C A825C5CE DD02C872 73B35DA5 4ACB7D10

-------------- next part --------------
#!/usr/bin/env zenroom

loch = str([[
EXCERPT [LOCH]

Tanja Brandmayr: At the beginning of the planning of STWST48x5 STAY UNFINISHED we wanted to dig an actual, oversized hole - as an unfinished project. We wanted to invite as many people as possible: from STWST people to a whole scene that perhaps no longer fully understands what regular cultural activity and art production still mean in times of cutbacks and shifts to the right. We also had the idea of inviting an international Ars audience, who might have been interested in a really different program at the so-called interface of art, technology and society. Despite many efforts, it failed on the spot where this project of an oversized hole could have been possible. We have played through some approaches. Within the framework of STWST48x5 STAY UNFINISHED, two projects were actually created that resulted from these fundamental considerations - I'm only touching on it, because it can be read through in the program itself: My "Deep Drilling for Contracts" goes into the symbolic depth of the agreements, your "Sandhole" is a concave hollowed out sand hole, which finally goes up - in other words, the concave hole receives hydrogen radiation from the universe. And so back to the original idea of the hole: I like the idea of the hole as an irrational act, as geometry directed into the depths, as an unpurified silt of meaning, as an unfinished sub-project, as a zero zone in which things connect differently than on the surface. What is now a reference to the theory that I like to reflect for Quasikunst ... ... What fascinates you about this idea of a hole that remains without a deeper reason? Do we perhaps even call it the idea of an anti-negative space?

Franz Xaver: By the anti-negative space you mean perhaps the "nothing" that connects Quasikunst with Infolab here. Behind this is a recurring thought: in order to create something with a sculpture, it is necessary to include the negative form, the "non-existent". First you have to create space and think the "nothing" - to get space for the "something".  The surface becomes the transition, the outermost shell, the interface.  It thus becomes the most important element of a sculpture. It is the slow emergence of the "nothing" that comes to meaning in the elaboration of the "hole". In the sense of "Unfinished" it is the process in which the hole is created and produces an ever-increasing "nothing". The hole must never be finished. It must be dug deeper and deeper. It is like a recurring dream. I see an incredibly huge hole in which artists stand with shovels and wheelbarrows and transport away material to create something. Why we work physically in the age of machines is still unclear to me. I see the shape of the hole as a large parabola. Because only with a parabolic shape of a hole is it possible to continue digging and transport the material on spiral-shaped paths out of the hole without any aids or supporting formwork. The fact that there is an automatic focal point in a concave hole is a side effect. In this focal point the radiation of the universe can be bundled very easily and thus the past can be brought into the present. The "nothing" in the form of a hole, or the transition, becomes a time machine.  Another meta-level of an unfinished hole is the interpretation of terms.  Something/nothing, inward/outward, life/death, etc. We live in fields with opposite terms. The fields are mostly very subjective and mean different things to different people. With "culture" we try to agree on the meaning of these terms. We look for common denominators. These terms become more and more objectified, which facilitates the communication between individuals. 1 and 0, the something and the nothing, are very objectified concepts. They are also the smallest unit of computer science. In order to enable machine information processing, however, as many terms as possible must be standardized. We are thus in a great upheaval of our culture resulting from the digital age. The progressive objectification of our everyday life counteracts the individual and subjective feelings of people. Unfortunately, there is very little interest in critically questioning this development. In the flood of information, personal, individual points of view no longer get through.  Unfortunately, we as society as a whole do not ask ourselves whether we want this development at all. In STWST this leaves us with nothing else to do but to continue to shape the NOTHING, to dig and to hope that the hole will get bigger and bigger in order to have room for something new at some point.
]])

flux = ECDH.new('goldilocks')
flux:private(loch)
x, y = flux:public_xy()
I.print({ x = x:hex(),
		  y = y:hex() })
I.print({ x = x:bin(),
		  y = y:bin() })




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