We staged “Light Space Time & Motion” on 12/11/2021
Moholy Nagy – Light Space Time and Motion
A audiovisual musical journey into the light sculptures of Moholy Nagy
featuring 3D anaglyph projections of the *Light Space Modulator* as well as Moholy Nagy’s own films and the special effects work he built for Alexander Korda’s 1936 Science Fiction classic based on H.G. Wells “Things to Come”.
John Smalley will perform as Moholy Nagy, Molly Hankwitz maker of special stage props and art director.
Music and projection film edited by David Cox.
*Song “Light Space Time and Motion” lyrics by John Smalley, music by David Cox
All Music Tracks by David Cox
Lines and Circles
ABC of Sound
Light Space Modulator
*Light Space Time and Motion
9th Conference on Computation, Communication, Aesthetics & X 12 – 16 July Online
xCoAx is an exploration of the intersection where computational tools and media meet art and culture, in the form of a multi-disciplinary enquiry on aesthetics, computation, communication and the elusive X factor that connects them all.
The focus of xCoAx is on the unpredictable overlaps between the freedom of creativity and the rules of algorithms, between human nature and machine technology, with the aim to evolve towards new directions in aesthetics.
xCoAx has been an occasion for international audiences to meet and exchange ideas, in search for interdisciplinary synergies among computer scientists, artists, media practitioners, and theoreticians at the thresholds between digital arts and culture. Starting in 2013 in Bergamo, xCoAx has so far taken place in:
Bodies Online – Magdalena Festival is a women in theater festival, Suzon Fuks turned me onto it as she has performed several times. Just caught the end this time around, but want to write more about it for next iteration.
Article on the countercultural newspaper, The East Village Other to which many luminaries contributed! sent to Craig for his approval. smile.
native-land.ca – downloadable app and online map of indigenous territories, treaties and languages
$1,000 for the digital file, plus a signed digital print.
Molly Hankwitz, 2021.
by molly h
molly’s notes leftover:
Cryptokitties…such an image/idea…money as expressive medium (felix stadler) because words and ideas circulate like currency – stamp the dollar bill with anarchy, antifa, Harriet Tubman! A token is something which exchanges and can circulate…at some point we step outside of circulation itself, which social media tends to escalate?
is there any point in chasing ones own tail…?
will cryptoartworks require vaults?
online communities have been monetized before…discussions around the specifics – “sharing””ownership””meaning”
reinvesting language and value with the value of meaning to serve esp margins
what does this have to do with internet of things?
will processes develop price tags they do not already have…?
strategies like performance for sale
*is there room for generative slot machine aesthetic…?
*how original is original when originality died long ago ?
art posted by geert lovink on nettime:
Tokenize This! by artist, Ben Grosser, who writes:
Tokenize This is a net art work that proposes one possible structure of resistance against the threats posed by NFTs. The site, available from [the link], produces upon each new visit a “unique digital object” that includes a custom color gradient and guaranteed exclusive identification code, all referenced by a matching URL. Yet different from the typical website whose URLs act as persistent indexes to a page and its contents, Tokenize This destroys each work right after its creation. While the unique digital object remains viewable by the original visitor for as long as they leave their browser tab open, any subsequent attempt to copy, share, or view that URL in another tab, browser, or system, leads to a 404 “not found” error.
In other words, Tokenize This generates countless digital artifacts that can only be viewed or accessed once. While this structure doesn’t block someone from selling an NFT that points to a Tokenize This page, it does ensure that the page it points to will never be seen by the purchaser of that NFT. Most broadly, the work acts in opposition to the capitalist ideologies embedded in NFTs and the ways in which cryptoart markets have already thrust an often anti-capitalist and anti-corporate art medium into a 21st century gold rush get-rich-quick kind of frenzy.
‘Saturday – vertical and horizontal properties of lace’ (Sketch: Molly Hankwitz)