Looking at the robots, I think

11.23.2011

David Lewandowski, going to the store



Robot maker Azusa Amino recently won the Robot Japan 2 Dance competition with his 23-centimeter-high Toko Toko Maru robot. 


- they are the un-ego, the dream of letting go of the source. They are a life whose source is the non-live, whose origin is not identical, so a different, non-human causality comes into place. The source, here, is the source-code. And that makes all the difference. Saying it is matter brought to life explains nothing. Think, rather, of metamorphosis, of alchemy, of things becoming not-themselves. (Of us becoming not-ourselves). The robot is not a robot if it remains the sum of its parts. It is a robot when it does something it is not supposed to do - when we see it as inhabiting itself. (It - who?, we ask, excitedly). They are our hope for the unexpected: if we can control everything, and the result is somethig more than what we were making, then there is no everything.
And we can dream on.

Looking at the robots, I think

David Lewandowski, going to the store



Robot maker Azusa Amino recently won the Robot Japan 2 Dance competition with his 23-centimeter-high Toko Toko Maru robot. 


- they are the un-ego, the dream of letting go of the source. They are a life whose source is the non-live, whose origin is not identical, so a different, non-human causality comes into place. The source, here, is the source-code. And that makes all the difference. Saying it is matter brought to life explains nothing. Think, rather, of metamorphosis, of alchemy, of things becoming not-themselves. (Of us becoming not-ourselves). The robot is not a robot if it remains the sum of its parts. It is a robot when it does something it is not supposed to do - when we see it as inhabiting itself. (It - who?, we ask, excitedly). They are our hope for the unexpected: if we can control everything, and the result is somethig more than what we were making, then there is no everything.
And we can dream on.

Looking at the robots, I think

David Lewandowski, going to the store



Robot maker Azusa Amino recently won the Robot Japan 2 Dance competition with his 23-centimeter-high Toko Toko Maru robot. 


- they are the un-ego, the dream of letting go of the source. They are a life whose source is the non-live, whose origin is not identical, so a different, non-human causality comes into place. The source, here, is the source-code. And that makes all the difference. Saying it is matter brought to life explains nothing. Think, rather, of metamorphosis, of alchemy, of things becoming not-themselves. (Of us becoming not-ourselves). The robot is not a robot if it remains the sum of its parts. It is a robot when it does something it is not supposed to do - when we see it as inhabiting itself. (It - who?, we ask, excitedly). They are our hope for the unexpected: if we can control everything, and the result is somethig more than what we were making, then there is no everything.
And we can dream on.

Pizza, pizza daddy - O!

11.16.2011

Gnarly is the norm.

11.09.2011

I always really like trying new stuff with wheat. This one I'm really happy with.



The original artwork for this tattoo was drawn by Michael Seiben. He does Roger Skateboards, that's the real deal.


Last god-talk at the Edge Skatepark on Pacific. I was glad to be there, at least not everyone in the room had been indoctrinated.

The House

11.04.2011

This house which is almost gone. Which still has the lines and weight of a house, yet could very well be called landscape. This house which is a set of floors engraved with memories that no one you know could ever read. Things, as people, come and go, yet we believe them to be different, we invest what is left of our faith in this space or that. It's what you think as you move the objects around, pretty damn self-conscious, pretty certain that this armchair in this place is pure iconoclasm. 

You'd rather it were a farm. You would prefer it to be pragmatic, and you would strive for it to be pure function, eliminating any sentiment, oiling the squeaking doors so the sound doesn't leave traces, cleaning the floor so there are no signatures. No time travels. 

Then you picture this farm, and somehow it's not so proper, the weather is muddy, or maybe that's the way it always looks, there are traces everywhere, things have a rhythm they will never ever retain, things have a rhythm they will never ever give up. It is your wildest dream, and this land is full of you, it does not allow you to leave. You seem to have been here long before you've ever pictured this place.

You move back, trying not to stare, so as not to keep any of this. Then you see the roof, its perfectly symmetrical form (it is not symmetric, but that is how you see it), its blissful abstraction. The way this alien form remains here. Now, yes, you can leave. You exit the picture, you go back to the house where the armchair is elsewhere, you walk out through the garden, and you take your hard-earned sight to another nest.

Nicholas McLeod, The Farm (2010)

The House

This house which is almost gone. Which still has the lines and weight of a house, yet could very well be called landscape. This house which is a set of floors engraved with memories that no one you know could ever read. Things, as people, come and go, yet we believe them to be different, we invest what is left of our faith in this space or that. It's what you think as you move the objects around, pretty damn self-conscious, pretty certain that this armchair in this place is pure iconoclasm. 

You'd rather it were a farm. You would prefer it to be pragmatic, and you would strive for it to be pure function, eliminating any sentiment, oiling the squeaking doors so the sound doesn't leave traces, cleaning the floor so there are no signatures. No time travels. 

Then you picture this farm, and somehow it's not so proper, the weather is muddy, or maybe that's the way it always looks, there are traces everywhere, things have a rhythm they will never ever retain, things have a rhythm they will never ever give up. It is your wildest dream, and this land is full of you, it does not allow you to leave. You seem to have been here long before you've ever pictured this place.

You move back, trying not to stare, so as not to keep any of this. Then you see the roof, its perfectly symmetrical form (it is not symmetric, but that is how you see it), its blissful abstraction. The way this alien form remains here. Now, yes, you can leave. You exit the picture, you go back to the house where the armchair is elsewhere, you walk out through the garden, and you take your hard-earned sight to another nest.

Nicholas McLeod, The Farm (2010)

The House

This house which is almost gone. Which still has the lines and weight of a house, yet could very well be called landscape. This house which is a set of floors engraved with memories that no one you know could ever read. Things, as people, come and go, yet we believe them to be different, we invest what is left of our faith in this space or that. It's what you think as you move the objects around, pretty damn self-conscious, pretty certain that this armchair in this place is pure iconoclasm. 

You'd rather it were a farm. You would prefer it to be pragmatic, and you would strive for it to be pure function, eliminating any sentiment, oiling the squeaking doors so the sound doesn't leave traces, cleaning the floor so there are no signatures. No time travels. 

Then you picture this farm, and somehow it's not so proper, the weather is muddy, or maybe that's the way it always looks, there are traces everywhere, things have a rhythm they will never ever retain, things have a rhythm they will never ever give up. It is your wildest dream, and this land is full of you, it does not allow you to leave. You seem to have been here long before you've ever pictured this place.

You move back, trying not to stare, so as not to keep any of this. Then you see the roof, its perfectly symmetrical form (it is not symmetric, but that is how you see it), its blissful abstraction. The way this alien form remains here. Now, yes, you can leave. You exit the picture, you go back to the house where the armchair is elsewhere, you walk out through the garden, and you take your hard-earned sight to another nest.

Nicholas McLeod, The Farm (2010)

Margaret Kilgallen

Excerpt from Art 21on Margaret Kilgallen

Margaret Kilgallen

Excerpt from Art 21on Margaret Kilgallen

Artists Take Civic Action

11.02.2011

Civic Action: A Vision for Long Island City

For videos about Civic Action, see vimeo.com/noguchimuseum
The Noguchi Museum http://www.noguchi.org/
Visit designboom's feature on the project

Artists Take Civic Action

Civic Action: A Vision for Long Island City

For videos about Civic Action, see vimeo.com/noguchimuseum
The Noguchi Museum http://www.noguchi.org/
Visit designboom's feature on the project