Tag: human
The Uni of Yorke: Art exam
As the inimitable Radiohead and Atoms For Peace frontman Thom Yorke landed on the cover of our February Issue this month, we launched our highly prestigious music school with huge names in new electronic music, including the likes of The Gaslamp Killer, FlyLo, Pearson Sound and Actress enrolling.
Now we're calling all art students and illustrators to get involved in the University of Yorke's brand new art department for an exclusive Atoms For Peace competition. This month, the supergroup will be releasing their debut album, AMOK, so we're inviting you to put your artistic hats on and design the most mind-blowing, inventive and trippy cover artwork for the mixtape Thom Yorke made us using the cassette tape template above - taking inspiration from the mix itself and/or the AMOK art (featured in the gallery below).
The artist and longtime Radiohead collaborator, Stanley Donwood, on the AMOK artwork:
"I’ve recently been reading about the Anasazi people, an ancient Native American civilisation that existed in the American Southwest from about the 1st century CE until the 13th century.They built the biggest structures that are known to have existed until the construction of 20th century, massive buildings consisting of hundreds of rooms, which were part of huge cities, and home to hundreds of thousands of people.Theirs was a very sophisticated culture; complex, long-lasting, technologically advanced and evidently very successful.
Although it’s difficult to be certain, it’s clear that many things contributed to the sudden downfall of the Anasazi: overpopulation, resource depletion, deforestation, pollution of waterways, climate change.It’s likely that some people could see what was happening, and equally likely that the great mass of people refused to acknowledge that their way of life was becoming rapidly unsustainable.In the end, nothing could prevent the collapse of this highly-developed and venerable civilisation.It appears that social structures broke down very quickly into a kind of holocaust.Human remains indicate violence, killing, dismemberment and cannibalism.Other evidence is arguably best interpreted as ‘ethnic cleansing’.
Whatever happened, it’s clear that the disaster that overtook the Anasazi people has many parallels in history.It’s a very ‘human’ disaster.We pay a lot of attention to kings, conquests and wars, but more often it is environment and geography that determine the fate of a civilisation, however complex and technologically accomplished it may presume it is.
Strange weather we’ve been having lately, don’t you think?And it seems that we’ve been reduced to fracturing bedrock for oil, rather than it just squirting up out of wells.Doesn’t that seem a bit… desperate? It’s probably all okay though, because we’ve got ‘technology’.Just as well, really, as our civilisation is global.And there’s only one globe."
The prize: An exclusive Thom Yorke-signed 12" vinyl copy of the Atoms for Peace debut album, 'Default', and an issue of the new Dazed & Confused magazine.
Long Live The New Flesh
Artist Jack Brindley with curator Tim Dixon are 'Open File'. The curatorial duo present a line-up of new and established artists at the ICA in the first of a triptych of performances and screenings. The events reflect what it is to curate in an increasingly virtual age and in a time where 'digitalization and the virtualisation of space implies a crucial shift where the human scale of industry and society have disappeared, and therefore social products are no longer manipulated totally materially'. Linking the argument to the human body, evolution of human interaction, design and object function, 'Long Live the New Flesh' poses questions about the boundaries and confluence between body and technology. Benedict Drew and John Gerrard feature in the one off event that brings together emerging and established practitioners in an evening of live bodies and digital image.
Here David Burrows from collective Plastique Fantastique answers some questions on 'the new flesh' and their performance that will 'summon the Neuropatheme'...
Dazed Digital:
Are there any references that specifically tie in?
David Burrows: Texts, YouTube films, references include the ideas of Thomas Metzinger, a philosopher who has been working with neuroscientists and who wrote the ‘Ego Tunnel’. Metzinger argues thatno one has ever been a selfand suggests that this concept and the counter-intuitive discoveries of neuroscience will be difficult for people to accept but that the technologies produced as a result of these discoveries will effect everyday life and culture. As well as this we have been thinking about Norbert Weiner and his ideas about feedback loops, Scot Bakker’s novelNeuropathand other writing, Ray Brassier’s text on noise and genre, the animated film seriesghost in the shell, the propaganda of the virtual Buddhist terrorists and various myths of the extreme past and future.
DD:
How would you describe the current human relationship to technology?
David Burrows: The nature of these relationships can only be guessed at. The development of various technologies will be seen as an evolutionary process in the future. Evolution can be thought of as realising many potential forms or organisations. In this, both chance and contingency may be involved in evolution. Most potential forms remain virtual, only some become actual.
If someone’s phone rings or pings and you reach to check your own phone, or you sense a vibration and think you have received a text but discover none has been sent or you check your phone when you see others doing so, your body has already been prepared for the next evolutionary stage.
As well as this, in the past, the relation of technology and humans has been understood through metaphors, fiction, images and myth, all of which can have an effect of the development of different technologies and everyday life. This is true today (an example being The Cloud) and will be so in the future.
DD: How does your work address this?
David Burrows: The work is a mytheme (or mysteme) for Neuropatheme (aka subject-without-experience, fux-the-shadow, otalP-the-empty-cave). Neuropatheme processes affects as information. Neuropatheme when fully plugged in realises that Neuropatheme is a sequence of processes and connections (exactly the same as being unplugged). Neuropatheme, feeling everything and nothing, is free of having to produce meaning and experiments with producing different feedback loops.
DD:
How has thinking, theory and practice developed to address emergent technologies?
David Burrows: In diverse ways but always in part as imaginary, fiction or myth.
DD:
How do you think art and the art world is adapting?
David Burrows: In the 60s and 70s, artists now called conceptual artists or associated with expanded art practice or expanded cinema where seen as radical but today they might be seen as pioneers and promoters of new and relatively available technology (fax machines, video, cheap air flights, Xerox, telephones, TV monitors) which transformed the world, commerce, leisure and culture. In the future, the same observation will probably be made about many of today’s artists.
DD: Most prescient and predictive artist/writer?
David Burrows: Nick Land and Sadie Plant
DD:
What are the dangers with our current mode of technological interaction?
David Burrows: Narcissism
Music 2012 – editor’s highlights
In a recent Tumblr post, Claire Boucher said of her artistic struggle: "I think Grimes succeeded because I had to discard everything else in my life in order to do it. I was so fucking desperate to make it work, I don’t think I could have possibly allowed it to fail."
2012's most exciting music came from similarly visceral places. Angel Haze went from murderously nightwalking the NY streets to searing autobiography; Purity Ring cut through a fragile ribcage with their lingering tripped-out RnB to find a bloody beating heart; our fearless September cover star Azealia Banks went from being a YouTube breakout to the one to beat. Artists like Andy Stott, John Talabot and Holly Herndon, meanwhile, manipulated the human voice in layered and tangible-sounding music that lacerated pop, dance and electronica. You could hear the red-raw knuckles in every stage that Savages took to this year.
Visually, things were messier still. The wild videos of J-Pop star Kyary Pamyu Pamyu, the covergirl of our December Asia issue, were rainbow-hued mazes of visual puns and double meanings; Lana Del Rey pushed American Dream imagery until it bled as she was bent over a pinball machine by a hairy biker; Mykki Blanco commanded the frills and feathers of a gender-screwing bacchanalian party.
In the past, musical trends represented a natural and needed shift, whereby the introspection of post-punk usurped punk and Top 40 trance found its counterpoint with the understated ballads of Adele. But in 2012 only the broadest painter would see a likewise shift in the tension between the web-enabled mainstream and underground. Maybe our January 2013 cover star RiFF RaFF nailed it, actually, when he rapped in 'Bird On A Wire': "Causing storms in sunny weather / Hoping my days get better." The most interesting artists this year weren’t the ones that steered clear of storms, but those that started them and shone. Here's to more rainy days.
We spoke to the rising US rapper just as 'New York' was blowing up. Two weeks after we spoke, she signed a major label deal.
The Canadian duo told Owen Myers about their love for Aaliyah and Lord of the Rings as they prepared to release 'Shrines'.
In his first UK interview, the Tri Angle producer reflected on his 'Kings and Them' mixtape and the religious connotations of his music.
FATIMA AL QADIRI & SOPHIA AL-MARIA ON GULF FUTURISM
Artists Al Qadiri and Al-Maria compiled nine striking examples of the Arabian Gulf's particular brand of Futurism, as an adjunct to their full-length feature by Karen Orton in our November Art Issue.
SPACEGHOSTPURRP FEATURE & FILM
The rapper told Charlie Robin Jones about the outer-space influences of his "mysterious phonk," with an exclusive film by Colin Dodgson.
