Ole Schreenen: “I think of our architecture as organizational structures.At their core is indeed structural thinking, like a system:How can we arrange things in both a functionaland experiential way?How can we create structures that generate a seriesof relationships and narratives?And how can fictive storiesof the inhabitants and users of our buildingsscript the architecture,while the architecture scripts those stories at the same time?
… So we could think of architecture as complex systems of relationships,both in a programmatic and functional wayand in an experiential and emotive or social way …
Of course, the skyscraper is vertical — it’s a profoundly hierarchical structure,the top always the best, the bottom the worst,and the taller you are, the better, so it seems.And we wanted to ask ourselves,could a building be about a completely different quality?Could it undo this hierarchy, and could it be about a systemthat is more about collaboration, rather than isolation?
… And suddenly you think of architecture no longer as built substance,but as an organism, as a life form. ”
Autonomous art systems correspond to the medieval idea of perpetual motion machines, — once put in motion by their creators they continue infinitely. In this case, Ian Cheng’s artificially intelligent trio of chatbots enter into a deranged echoic conversation that reflects the habitual way organisms communicate. Like neurons speaking to each other, dissonance culture fractures arbitrary excess into meaningless meaning.
Ian Cheng. Live simulation, infinite duration, artificial intelligence services, 2013-2014
PLEASE ORIENT SCREEN VERTICALLY
“Here together 3 online artificial intelligence bots, typically rented and modified to converse with humans about a commercial product, be a sexting partner, provide therapy. Here they converse with each other, generating a dynamic conversation that evolves indefinitely and without us.”
Victoria Vesna (speaking at SCM on January 14th 2016) spoke about how researchers have found that bird-song network communication patterns are similar in rhythm to human communication networks (they talk and speed up and go silent at similar intervals). She also emphasized the influence of complexity theory and artificial life on her art practice. From the use of Spectrograms (1950) to recent automated classification, she foresees the rise of autonomous art systems. She also mentions the idea of an autonomous artificial intelligence emerging on the Internet (also see, Out of Control by Kevin Kelly “a glorious network culture, a remarkable hivelike being.” ).
Vesna’s ambitious interdisciplinary project Bird Song Diamond involves networks dynamics at many levels from the biological, technological to the social.
Jolene Mok is an artist who in her residencies provides portraits of community networks. So her work is to move through a network of art spaces (museums, foundations, galleries, etc) providing a self-reflexive glimpse of what is where she is. She reveals networks as she traverses them.
In this video Peckham defines ‘post internet’ as distinct from technology. His curating practice refers to exploring a ‘thematic schema’ (around 45 min mark) which seems to be a synonym for a social network. And he also explicitly refers to the ‘strength of weak ties’, ‘network dynamics’ and ‘object oriented ontology’ (approx. 50 minute mark). “The joke in China is of course is that there is no internet there is only a Chinese intranet.” (60 minute mark).
Robin Peckham: Tracing the Post-Internet—A Case Study in Curatorial Process
Produced by 4A Centre for Contemporary Asian Art and Das Platforms