Hi Alan,
What you're saying highlights an immense amount of waste driven by uncaring
forms of imperialist-driven capitalism. And yes, we all know the
self-appointed, pretentious "gods of the future" not only intend to keep
polluting the Earth for their own gains — they're already polluting space as we
speak. So, living with trouble and swilling in their shit will be the future
chosen for everyone by the overlords.
However, as I'm sure you agree, we need to continue exploring old and new ways
and hybrid notions and ventures to be who we are both independently and
together.
We have all been living in territories dominated by dumbasses and their
hegemonic needs for a long time now and have grown accustomed (grudgingly) to
adapt in some way even though it is bleak and despairing to have to change in
accordance their whims all of the time.
Furtherfield's not disappearing for a while, we're 'stubborn and pigheaded and
cute' enough to know what's valuable and tangible. While others pay lip service
and bow to the (pretend) gods of top-down tedium, we'll always be confusing
them and annoying them and their accepted forms of structural nihilism.
We need to remind ourselves that not everyone is a zombie; we're the solution.
Wishing you well
Marc
++++++++++
On Tuesday, 1 April 2025 at 15:34, Alan Sondheim via NetBehaviour
<netbehaviour@lists.netbehaviour.org> wrote:
> Just to add a note - rust. I'm from the anthracite region of Pennsylvania,
> and have watched the deterioration of mines, communities, environments, etc.
> over decades.
> Things rust, fall apart; the streets in my neighborhood collapse at times as
> a result of the underground structures giving away. That's another model, not
> objects and processes, but runoffs and piles (some of which have been burning
> for over a century). So a geological model, not artworks but sludge, not
> networks but breaking points, no matter what the networks are. There are
> ruins everywhere and the amount for example of toxic electronic debris in the
> U.S. is enormous -
>
> On Tue, Apr 1, 2025 at 6:29 AM marc.garrett via NetBehaviour
> <netbehaviour@lists.netbehaviour.org> wrote:
>
>> Hi Rhea,
>>
>> I enjoyed reading 'Complaint in the Age of its Operationalization. '
>>
>> I am encouraged that you find much of anything related to Musk cringeworthy.
>>
>> "They are cringe because everything Musk does is cringe. They are yet
>> another product of a needy, try-hard, middle-aged man-child nerd’s
>> desperation for love and attention, to be one of the popular kids, even and
>> especially as a de facto dictator. If the gap between power and the
>> expression of desire defines cringe, Musk is the
>> Black-Scholes-being-hit-by-negative-prices of cringe."
>>
>> The man-child's power to demolish anything he fancies is a harsh reminder
>> that people and communities online are vulnerable when they rely on the
>> master's tools to build shared values on platforms built by corporations.
>> It's a warning that if we rely too heavily on these corporate platforms and
>> tools, we risk cultural erosion and the loss of years of hard-earned,
>> mutually beneficial relationships with others.
>>
>> "When considering the problem of fakes in art, Goodman uses examples of
>> forged paintings being revealed in order to argue that we cannot know which
>> features of an artwork will affect its authenticity in the future. These
>> aren’t a matter of chemical or radiological analysis of images, although
>> these developments have certainly revealed an increasing number of fakes in
>> recent years. Rather it is a matter of looking at the artwork and
>> considering it in a different light."
>>
>> Social media platforms have been flooded with the AI-generated trend dubbed
>> the “Ghiblification” "with people transforming personal photos, memes and
>> even historical images into visuals reminiscent of Studio Ghibli’s art
>> style. Users also generated and shared other iconic visual aesthetics — from
>> Disney, Pixar, Lego, The Simpsons, and Dr. Seuss, as well as vintage styles
>> such as those of Rankin/Bass (Rudolph the Red-Nosed Reindeer) [...]. The
>> real danger of current AI trends lies not just in fakes, ethics or
>> automation but in the silent heat rising from countless overworked servers.
>> As AI use skyrockets, so does its environmental impact, and that's a growing
>> concern we can no longer afford to ignore.
>>
>> "We are not entitled to live off the epistemic passive income from our
>> investment in a romantic understanding of human uniqueness."
>>
>> Completely agree. Deals with the nature of our knowledge in its own right is
>> 'probably' as akin as anything in its own right, art, technology, sex, war,
>> food, etc. Everything is attached to a set of other elements, never in the
>> singular. That purity died along with the romanticism of genius propped up
>> by deluded visions of post-modernity and colonial defaults. However, these
>> romanticisms still exist in our everyday lives and networked forms,
>> rebuilding from the top down and reproducing the backward, masculine
>> defaults and structures promoted, funded, and maintained through
>> technological protocols and their underlying elite systems.
>>
>> "It is a failure of critical imagination to simply object to a product’s
>> fulfilment of the limited terms chosen for its initial promotion. It is like
>> a cat chasing a red dot on the floor and feeling pleased with themself when
>> they catch it. While screaming at anyone who points out that the dot is
>> coming from somewhere and that lasers have other more interesting uses."
>>
>> My position is not as a puritan or an absolutist. I know that if we’re going
>> to be using networked technology these days, AI will be involved in some
>> way. However, I see AI's massive shift in our culture worldwide as a
>> political form of digital colonialism. Still, it would be disingenuous to
>> ignore that technology has always been used to exploit others,
>> simultaneously bringing positive benefits. My job here is to identify the
>> positives, negatives, and grey areas of this accelerating, ubiquitous
>> medium, which many people use daily in various life activities.
>>
>> My guide or critical palette for assessing and navigating through all this
>> is an assemblage of chosen methodologies that help me understand where the
>> works I’m examining sit within a broader cultural context. For example, I
>> view these artworks from a permacultural, political, ethical, class, and
>> intersectional perspective. Alongside these key elements, I bring years of
>> working with art, technology, and social change to the table.
>>
>> My focus is: What are these artworks doing, and are they doing what they
>> claim to do? And if they are doing what they say, what does this mean, and
>> is this enough? What would the work look like if the artists took their
>> propositions and intentions towards a more critical awareness, openness and
>> ethical standing? This isn’t to suggest that by critiquing this work, my
>> peers, allies, and I hold all the answers. At what cost are these artworks
>> made? By examining the function, aesthetics, technology, motives, and
>> narratives (abstract, conceptual, or not) of these artworks more deeply, we
>> can better understand where the artists stand creatively, ecologically,
>> politically, and culturally. This will help me reflect on my and others'
>> relationship with art and AI and what that relationship truly means.
>>
>> Wishing you well.
>> Marc
>>
>> On Friday, 28 March 2025 at 03:52, Rhea Myers via NetBehaviour
>> <netbehaviour@lists.netbehaviour.org> wrote:
>>
>>> Slop, ghibliization, and the cringe of the Musk administration -
>>>
>>> https://rhea.art/2025/03/27/complaint-in-the-age-of-its-operationalization/
>>
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>
> --
>
> =====================================================directory
> http://www.alansondheim.org tel 347-383-8552email sondheim ut panix.com,
> sondheim ut gmail.com
>
> =====================================================
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