Author: intima.org

Market for Useful Knowledge and Non-Knowledge

Mobile Akademie Berlin / Lizenz #12
Market for Useful Knowledge and Non-Knowledge
Markt für nützliches Wissen und Nichtwissen

Frankfurt LAB (Gallus)
Discourse/Performance
frankfurt-lab.com

Frankfurt, Saturday, 16 September 2023
19:00 – 22.30 (check-in from 18:00)
mousonturm.de

First-round experts are available for booking beginning at 18:00. Each 30-minute conversation costs 1€. It is possible to sign up for a conversation in the next round on an ongoing basis.

➠ Book a 1:1 conversation with Igor Štromajer!

1000011474-01

With the hard drive to the Centre Pompidou

“In the mid-1990s, artists in a disintegrating Yugoslavia explored the Internet as an open frontier. Freely accessible, requiring no passwords or tickets (but also offering no payment), it functioned as canvas, stage, and means of production. Net art pioneer Igor Štromajer believed in the punk utopia of Internet art beyond the market. In light of the privatised platforms that characterise today’s online landscape, however, he asks himself the question: what source of income is possible for net artists other than selling old hard drives to museums?”

Photo-Thomas-AurinPhoto: Thomas Aurin

Follow the Money

Of Analogue Values, Digital Currencies and the Quantification of the World

Continue reading “Market for Useful Knowledge and Non-Knowledge”

GPT net art · IŠ

— prompt:
write html code for a dynamic, single-page net art work in the style of igor štromajer

— GPT:
“Sure! Igor Štromajer is known for his interactive and dynamic net art works. Here’s an example of a single HTML page that incorporates some of his style elements:

<!DOCTYPE html>
<html>
<head>
<meta charset=”UTF-8″>
<title>Igor Štromajer-style net art</title>
<style>
body {
background-color: black;
color: #01ffff;
font-family: Arial, sans-serif;
text-align: center;
}

#container {
position: relative;
width: 100%;
height: 100vh;
display: flex;
align-items: center;
justify-content: center;
}

#text {
font-size: 99px;
font-weight: bold;
animation: flicker 0.1s infinite alternate;
}

@keyframes flicker {
0% {
opacity: 1;
}
50% {
opacity: 0.5;
}
100% {
opacity: 1;
}
}
</style>
</head>
<body>
<div id=”container”>
<div id=”text”>+</div>
</div>

<script>
document.addEventListener(‘mousemove’, function(event) {
var x = event.clientX;
var y = event.clientY;

var grayscale = Math.round((x + y) / 9);

var container = document.getElementById(‘container’);
container.style.background = ‘rgb(‘ + grayscale + ‘,’ + grayscale + ‘,’ + grayscale + ‘)’;
});
</script>
</body>
</html>

In this example, the HTML document contains a single page with a black background and turquoise text. The text is styled to flicker using a CSS animation. The ‘mousemove’ event listener is added to the document, which changes the background color of the container div based on the mouse position, creating an interactive effect. Feel free to customize the text, styles, and animation to further match Igor Štromajer‘s style.”

Future Book(s) – 01100001

Igor Štromajer‘s work 01100001 featured in:

Future Book(s)
Pia Pol, Astrid Vorstermans (eds.)
Valiz, Amsterdam, June 2023

001

496 pp., 24 x 17 cm, English/Dutch
ISBN 978-94-93246-27-0

004

In 2012, Štromajer created ten binary algorithms, following his ultimate vision that by 2112, machines will independently, directly, and completely human-free, produce art for their fellow machines, without any human participation in the process of production, transfer and consumption of art.

003

Documentation as Art

Documentation as Art
Expanded Digital Practices
Edited by Annet Dekker and Gabriella Giannachi
Routledge, January 2023

➜ contains a reference to Štromajer‘s artwork -oµ4×

documentation-as-art

Documentation as Art presents documentation as an expanded practice that is radically changing the ways in which to look at, participate in, and generate art.

Bringing together expertise from different disciplines, the book provides an in-depth investigation of the development of documentation as a set of production, circulation, and preservation strategies. Illustrating how these are often led by artists, audiences, and museums, the contributions offer new insights into digital art and its history, curation, and preservation, through documentation. Considering documentation as the main method of preserving these art forms, the book analyses how it can address the inherent challenges of capturing live events, visitor experiences, and evolving artworks. Showing how documentation itself can become (part of) an original artwork, the book discusses ways in which these expanded practices can impact the value and experience of the documented event or artwork, giving consideration to how this might affect the traditional authority of the museum as creator of documentation used for future reference, historical relevance, or cultural memory.

Documentation as Art demonstrates how the curation and preservation of documentation and the introduction of audience-generated documentation are radically changing exhibition and visiting practices in which documentation is becoming a significant and emergent cultural form in its own right. The book will appeal to researchers and students engaged in the study of museums and curation, art and art history, performance, new media and digital art, library and information science, and conservation.

Continue reading “Documentation as Art”