magic & technology

The Choreography of Algorithms

soniayuditskaya:

Merce Cunningham refered to the choeography of space. He talked about how architecture enables us to take on certain roles. For example; in an airport I become preoccupied with timeliness, and the poetics of greetings and good-bye’s.

This is the choreography of 2000’s computer vision, the poetics of that algorithm. I would like to think it points to the tribalization of that dance, that it describes not the utopia of parallel processing but the utopia of the prepared piano.

soniayuditskaya:

Michaelangelo’s last sculpture was the first glitch art: rondanini pieta

The glitch was in the creator’s own mind of course. The fully formed arm unattached to jesus is buffer spillage in marble.

 (These are thumbnails of the unique photos taken by Ludwig Goldscheider for his book Michelangelo: Paintings, Sculpture, Architecture, Phaidon Press Ltd.)

If we combine a real-doll and a maker bot have we almost made a woman?

soniayuditskaya:

right brain

soniayuditskaya:

left brain x axis

soniayuditskaya:

right brain

soniayuditskaya:

left brain

From the forest itself comes the handle for the ax

a touch on Bergson and duration

(Source: soniayuditskaya)

soniayuditskaya:

composited images of the right and left portions of my brain as plain skulls

guess which is which?

soniayuditskaya:

The High Priestess—image by Jason Aston :::
saturated with information, the High Priestess uses proprietary and incredibly complex data viz algorithms to derive meaningful information from the world. Like the Delphic oracle she spouts truths but only the enlightened have any hope of interpreting them.

soniayuditskaya:

The High Priestess—image by Jason Aston :::
saturated with information, the High Priestess uses proprietary and incredibly complex data viz algorithms to derive meaningful information from the world. Like the Delphic oracle she spouts truths but only the enlightened have any hope of interpreting them.