Category:google

November 25, 2014

Hong Kong Police Street View

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Police in Hong Kong have deployed a new mobile pepper spray platform against protestors near Mong Kok.

I start with this image via @krislc, Kris Cheng, because it gives nice context, also the guy is watermarking it with his face? I'm filing that trick away for future use.

At first it looked like it's made out of PVC pipe, but it's surely painted steel. Actually, it looks like a smaller variation of the stairs in Home Depot.

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Most of the info comes from @galileo44, Galileo Cheng. Like this picture of the police conferring on Portland St. With their pepper spray cannons on their backs. Unless those are #umbrellas.

Here is krislcc's Vine of the new platforms in use on her. Galileo calls them castles. They're hand pumped. Like Super Soakers or something. Incredible.

Here's another. What is most striking to me about this one is how the two police officers move together: one with the pepper spray, the other with a video camera. Kris Cheng says the the pepper spray isn't that strong; the effects didn't last more than 45 minutes. But the police will play a long game with those images.

Speaking of long game, holy smokes. I thought I'd scout out the Mong Kok streetscape on Google Maps, and this is what came up:

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It was startling to be met by an unblurred face. And the vantage point was so high. But turn around. This is a pano. Or a "Photo Sphere." From September, of the intersection blocked by a sit-in. It's credited to nJohn.

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There are more recent Photo Spheres, too. Including November, by Kau Lam. The protestor-decorated police barricades are stitched together pano-style. Google Maps as a reporting platform. When will it go live? Will Google get castles of its own, or will cameras on long sticks suffice?

November 24, 2014

Well, It's A Gursky Now

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This is just so fantastic. Last month Eugene, OR photographer Blake Andrews wrote about this 2004 photo by Lyza Danger, which has gradually become confused and conflated with Andreas Gursky's 99 Cent photos.

Danger's photo, an unaltered image of a Fred Meyer in Portland, is CC-licensed on flickr, which has aided its circulation and re-use. Andrews discovered several instances where Danger was accused of both ripping Gursky off, and of claiming Gursky's image as her own. But the best part is that Google Images include Danger's photo in searches for Gursky's 99 Cent. The authoritativeness of Google, coupled with the plausible Gurskyness of Danger's image, create a virtuous cycle of re/mis-attribution that may or may not be slowed by Andrews' investigation.

And basically, I love it. Clearly, it's Gursky enough. Or rather, Danger's verite' image shifts what makes a Gursky a Gursky from the grand scale of globalist capitalism to the artist's manipulation of the same.

Danger's photo is not a Ghetto Gursky, or a Shanzhai Gursky either; those terms don't fit this scenario. It's an image made in the wild, a Found Gursky, which we now recognize and appreciate because of Gursky's influence. It's an example of a shift from Gursky as author to Gursky as worldview. It's of a piece with the photo that Brent Burket flagged last year, Taylor Swift's selfie with a Dallas stadiumful of people.

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Andreas Gursky photo of a Madonna concert in Los Angeles on Sept 13, 2001, image via centre pompidou

And now I see a connection to the ruins of the World Trade Center I'd wanted to see Gursky photograph in September 2001, except he was touring with Madonna.

99 Cent | Blake Andrews [blogspot via petapixel, thanks giovanni garcia-fenech for the heads up]

November 19, 2014

Google, Water, Color

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Study for Untitled (Google Art Noguchi Table) #3, 2014, 8.5 x 11 in, inkjet and water on archival matte finish paper

I was very happy to donate this study to the benefit auction last week for Franklin Street Works, the Stamford, CT art space where some Destroyed Richter Paintings and Shanzhai Gursky photos were in a show.

FSW had asked for furniture- or design-related works on paper. I have been trying for a couple of years to figure out how to make sense of the real-world, real object anomalies of Google Art Project panos, like the blurred out paintings, and especially the blurred out Noguchi game table [furniture!] at the Art Institute of Chicago. And I thought this would be a good opportunity to experiment, rather than simply print out the GSV image [not that there's anything wrong with that, as Paul Soulellis's very nice Webdriver Torso-related print demonstrates].

What mattered to me was getting the blur just right. Years ago, in the early Iris Print era, I'd seen some amazing Gabriel Orozco works--which I can't find a trace of now--where he'd dripped and brushed water onto inkjets of lush Baroque paintings of the Madonna, dissolving the center into an abstract mess. Very non-archival, but very beautiful.

And all but unreproducible. In terms of inkjet and paper coating technology, we've come a long way, baby. I tried several printer & paper setups, but nothing would bleed like I wanted. Finally, in desperation, I emailed my sister, who had a clanky old [2003] desktop printer in her basement, and she printed some images for me. Even this modern paper resists staining and dissolving like the inkjets of old. After several test, though, I found if I let water sit on the paper long enough, it'd give me a blur. Study #3 was the first one to be successful enough to let out of the house. I don't know where it went yet, but I hope it stays out of the rain.

A Benefit Auction for Franklin Street Works [paddle8]
Opening In Stamford: It Narratives, at Franklin Street Works
Previously: Google Art Institute Project

September 22, 2014

Google Glass Art Project

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From the moment it launched, I've been trying to figure out what the Google Art Project would look like in real life, what the relationship is between the physical world we inhabit and the spaces and objects we encounter and the digitized pano simulacrum of Google Street View.

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What would these blurred Picassos at MoMA look like IRL? Or these pano-distorted Kellys, or this blur-encased Noguchi table in Chicago? Or this clock, or table, or borrowed bust at the Getty?

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Though a few slipped in at the beginning, even a year ago Google seemed conscientious about avoiding or removing images of its Street View crews at work. In the Spring, the Google camera cart and its operator were still being blurred out of panos at the Getty.

Well, now I wonder if Google's wondering about itself. This morning Google Art Project tweeted these panos from the Votive Hall of the Museum of Decorative Arts in Prague, and I swear, I've never seen a more Google Mapsian space in my life.

The lighting, the reflectivity, perspectival polygons in the air, the glass vitrines with text stenciled on them, little placards floating on wiry stands, the crispy way these matte-finish urns get backlit by the vitrines and end up looking like digital renders of themselves. And then holy crap, what is this thing in the doorway? Now it's like they're just trolling us. Us and Dan Graham.

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Google Maps is not hiding anymore; it's taking selfies. And it's remaking the world in its own image. Googleforming.

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Click the arrow, come on in.

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Turn around, look back, see where we were. Where you were. Where we were.


Getty Museum View, or Seeing Google Seeing
Man With A Pano Camera

June 18, 2014

On Kawara Data

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I've had this image of a spread from On Kawara's Journal on my desktop for months now. I love the reduction of the Today Series paintings to desk calendar size. There is one binder journal for each year since 1966, when the series began. [chungwoo has more images and details the content and format of the journal. In Korean.]

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Anyway, while surfing through Michele Didier's site just now, Kawara's Trilogy stood out for a couple of reasons. First, and obviously, is its sculptural presence. They look so Juddy, especially with the sliding front covers on.

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Kawara's not necessarily known as a sculptor, but then, it's not just these boxes, is it? The paintings are objects in boxes, too. And books and binders and CDs, however unreadable their information, always read as physical objects. [The file name on this image even turned out to be on_kawara_boites.jpg,]

Didier published the Trilogy over four years: I Met (2004), I Went (2007), and I Got Up (2008). Each twelve volume set is an edition of 90, with 10 APs. I Met is now only available as part of Trilogy.

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I Got Up, detail. Wait, so will there also be a I Photographed Postcards? How did he get pictures with postmarks? Did he get the cards back? This is no small task. [images: micheledidier]

The sets overlap in time, an 11.5-year period from May 10, 1968 to September 17, 1979. Actually, I Went, in which Kawara traces his movements on a map of whatever city he's in, didn't start until June 1st. Which now makes me curious. Did it take a couple of weeks to figure out? Did the idea only come once he'd started logging his interactions [the people he met and the ones to whom he sent his wake up postcards]? Did he have somewhere to hide?

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Or to use Didier's term, "the information within [I WOKE UP] intersects with the facts reported in I MET and I WENT." Information and facts. Data. Kawara was logging by hand exactly the kind of information our computers and phones now track automatically. As metadata. For Kawara, metadata is the data. The difference, of course, is that he's tracking himself, intentionally marking his passage through time and space, and across his social matrix. [btw, does I Met include the cashier at the deli? Does he live in a doorman building? Is his partner in there? His hookups? What do these maps of Kawara's mindfulness communicate?]

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The takeaways here are clear: What IS it like maintaining such total personal information awareness? Since Kawara's not talking publicly about it, we can turn to Eric Doeringer, who has re-enacted three Kawara projects, including I Got Up (2008-13) and I Went (2010) [above].

Also, who's going to digitize the 14,000 pages of Trilogy to create the On Kawara Database Beautiful boxes of books are great, but information wants to be free of the box. Why flip through a book when we could be reliving Kawara's 1970s day by day on Street View? At a time when we're all unwitting, indifferent, or dispirited subjects of constant surveillance, the lessons of Kawara's project have never been more important.

UPDATE: Or it might be the exact opposite, hard to say.

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What you need is a system. To keep you going, to avoid artist's block, to keep the pipeline filled.

I think Lewitt's cubes were less a system than an idiom. Flavin's fluorescent tubes, too.

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Shapes from Maine, 2009, image: petzel.com

Allan McCollum's got a few systems going. Systems are his medium. Define some parameters, calculate the total set, start producing, and don't stop till you--or your market--drops. The Shapes Project, started in 2005, has 31 billion possible permutations, enough for everyone ever to be born on earth to have one. Personally, I'm largely unmoved by McCollum's results, but I respect their jawdropping systemic integrity.

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But On Kawara's Today Series, now that's a system I can get behind. It's a bonus when your system is conceptually tight, also when it can carry you out of this world.

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As that Kawara link above mentions, Hirst's spots are also a system, which operates autonomously and, he's even hinted, which could continue posthumously. [Kawara's date paintings and Hirst's spots were up in NYC at the same time in 2012, and Karen Rosenberg said one series was about time, and the other was about money. I love that.]

Anyway, you want to make sure you don't get trapped by your system. Flavin had a helluva time with that, especially towards the end. So keep enough irons in the fire, throw a system or two into the merchandise mix. Like Richter's new Strip paintings; he'll be able to pull those off the printer till the very last. And he could leave the print queue open in his will, even. [I wish him all the continued health and happiness and look forward to seeing his show at the Beyeler.]

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One would want a system to be ambitious, to stake a large claim, but to be doable, sustainable, saleable over the course of its realization. When Bruce High Quality Foundation announced their project to recreate all 17,000 objects in the Metropolitan Museum's antiquities collection in Play-Doh, it seemed daunting. I guess you could say they'll probably have product available as long as they're able to keep selling.

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Danh Vo, We The People, 2014 installation at Brooklyn Bridge Park, Public Art Fund, image: James Ewing

Danh Vo's We The People project to recreate the Statue of Liberty as 250 separate panels, meanwhile, has a finite end, even though the ridiculously awesome scale of the project seems impossible. On a purely physical object level, this has to be one of my favorite art undertakings ever, a confluence of abstraction & representation, metaphor & literalism, presence & absence. As soon as I get to Vo's pieces on view in City Hall Park and Brooklyn, I'll try to write more about it.

From Kawara [solo] to Hirst [factory] to McCollum [vector files] and Richter [digital] we can see a diminishment of the artist's hand in inverse proportion with the expansion in scope, approaching capitalist nirvana, an industrial-scale infinity.

This is all nice and terribly important, but it's also prelude to what might be the most ambitious readymade art generation system ever, which I'm totally calling dibs on: Webdriver Torso.

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Webdriver Torso is the largest of at least four related YouTube accounts which have been uploading randomly generated videos [the pace is currently two videos ever 8-12 minutes] since mid-2013. Webdriver Torso has nearly 80,000 videos now; on all four accounts there are more than 130,000 videos total. Webdriver Torso's channel now has more than 38,000 subscribers. Where a few weeks ago, almost all the videos had zero views, or maybe one, now videos of seemingly nothing immediately get several dozen views. [The other channels still have mostly zero views.]

Since being discovered and publicized a few months ago, various websites have speculated on the purpose and origin of Webdriver Torso, calling it an alien communications tool, or a crypto-spy numbers station, or a test channel for some video software developer. The most persuasive explanation I've seen so far is Italian blogger Paolo B.'s theory that the Webdriver channels are connected with a YouTube uploader development initiative for 3D videos or multiple videos, run out of Google's Zurich office.

Each video is eleven seconds long and contains ten slides, each with a composition of blue and red quadrilaterals. That's 1.3 million possible compositions, with more being added at an average rate of one every six seconds. And they all look more or less like a Malevich, or Lazslo Moholy-Nagy's Telephone Paintings.

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So obviously turn them into paintings. It seems impractical to sort through all the videos, looking for some "best" composition. Better to stay true to Webdriver Torso's random nature, and grab a few. Or even grab one and use it [all], make nine paintings at a crack. Or maybe use the slides in the most recently uploaded file from the moment you make a sale, or the moment you place the order with Chinese Paint Mill. Then it becomes an indelible, but meaningless, marker, an index of its own creation. Like On Kawara's date paintings, they can be made in various sizes. Maybe you get a giant hard edge monster to anchor an important wall. Or maybe you get a smaller, complete set and grid them up, a la Olafur.

A web storefront that offers paintings in only the compositions from the last few minutes of uploads wouldn't just reward quick purchase decisions: it would demand it. Out with this fair-wandering nonsense of, "Oh put it on hold for me, I'll let you know." and in with Buy It Now. Of course, what'll happen is that someone will sit there and hit refresh all day, in eternal hope that the next batch of nine will have the Webdriver Torso Mona Lisa in it. [Just a second, gotta check Twitter.]

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Ooh, tmpK89znn, which just went up, has some really nice ones in it:

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Let's see how those turn out.

A timeline of Webdriver Torso [botpoet via @soulellis]
the truth about Webdriver Torso [ventunosu21]

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Vanessa Stiviano & counsel, image via Gawker/Spalsh/DesignObserver

I've tweeted before, and I'll tweet it again, but Vanessa Stiviano's boss anti-paparazzi visor is the greatest thing about the entire Donald Sterling/Clippers/racist billionaire debacle. Stiviano's photo-thwarting look will have far-reaching implications for our media and celebrity culture, you heard it here first.

Well, technically, you probably already read something along those lines at Design Observer, where Rob Walker did a great analysis of the visor as a part of Stiviano's carefully constructed, photo-mastering looks:

This object privatizes the face in a manner that's undeniably a protest (stop taking pictures of me!) and just as undeniably a confrontation (you cannot resist taking pictures of me wearing this object!).

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vstiviano screenshot via @MichelleLHOOQ

Me, I see it as the vanguard of a broader trend that really speaks to this moment in history:

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screenshot: google images

Rob Walker| Object in the News: The Face Privatizer [designobserver]

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image: AA

Turkey is trying to control the flow of refugees from Syria and the unregulated trade and traffic across the open border by constructing a "portable" wall near Kusakli, a border village under the jurisdiction of the nearby town of Reyhanlı, in the Hatay province. No biggie, though, this wall's just 1200m. Really more of an installation.

The AA photo above shows workers installing the prefab concrete segments with a crane. They look like jacked up Jersey Barriers.

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As this DHA photo shows, they are jacked up Jersey Barriers, 30cm thick, and 3m square. Each weighs 9 tons. From their popular use in the Iraq and Afghanistan wars, the US military's technical term for a jacked up Jersey Barrier may be a Texas Barrier [3.7m] or an Alaska Barrier [6m], or a Bremer Wall, after Paul Bremer, who did so much to create the demand for them during the early days of the occupation.

All these US-style barriers, though, are thinner, rectangular, more 2001 monolith-shaped. Their design heritage traces back to the model for an instant wall along the US-Mexico border that congressman/earthworks artist Steve King (R-IA) exhibited in 2006. And to the decidedly non-temporary, non-portable wall Israel built in the occupied West Bank.

Turkey apparently does not want to use Israeli-style oblong walls, so they go with the square. A little heavier, but fewer lifts. They're apparently installing the wall at around 75 segments/day.

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I looked Kusakli up on Google Maps, and the awesome, gridded Benday dots of the olive orchards in the surrounding landscape are suddenly the second most interesting feature. Because there is this unusual Pentagon overlay around the town. What even is that? There's no way it's the wall. Or the demarcation for a wall, since the wall's only 1/8th built. Right? That'd turn Kusakli into West Berlin without limiting the flow of Syrians anywhere except in this tiny village. So it's something else.

Turkey builds portable wall on border with Syria [hurrietdailynews, image: AA via @aljavieera]
Turkey builds portable wall on Syrian border [todayszaman, image: DHA]

Previously: Study For A Fence And A Wall (2006)
Related: Afghanprogettazione: HESCO X DIY Troop Furniture

The Getty Museum is now included in the Google Art Project. Which is now a part of the Google Cultural Institute. I hadn't noticed how this context has changed, and how the Art Project has been subsumed and presented. The navigation options are, "Collections | Artists | Artworks | User Galleries." And institutions are collections.

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Anyway, Museum View. I know that Google Street View-based art fascination is old and busted, but Museum View for me is still the new hotness. Maps are for navigating, going somewhere, doing something. But Museums are for displaying and depicting and interpreting; they hold and show objects and generate discussions and critical context. And Google Museum View is doing that on a trans-institutional scale, and so it feels important to have some awareness of this process. Trans-Institutional Critique.

Fortunately, Google still sometimes documents itself documenting.

OK, I really can't do this every day, but this is the second time the text of a comment spam has caught my attention, and I have to chase down its sources. Maybe the algorithms are getting smarter:

Aaaand we're done Thank you so artist much for joining my studio and then re-photographed these as a homage to James Van Der Zee [ and I had that camera everywhere. The screenshot below shows the progress so far. In terms of gender, pleasure and sexual politics well before the founding of the women's art movement, he said.
I was first thinking the text sources were uncannily coherent in their arty grouping. But maybe it's just what you'd expect for a comment spam for a Florida makeup artist left on a blog post about C-Section cakes. Anyway, see the list after the jump.

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Since 2001 here at greg.org, I've been blogging about the creative process—my own and those of people who interest me. That mostly involves filmmaking, art, writing, research, and the making thereof.

Many thanks to the Creative Capital | Warhol Foundation Arts Writers Program for supporting greg.org that time.

comments? questions? tips? pitches? email
greg [at] greg [dot ] org

find me on twitter: @gregorg

about this archive

Category: google

recent projects, &c.


shanzhai_gursky_mb_thumb.jpg
It Narratives, incl.
Shanzhai Gursky & Destroyed Richter
Franklin Street Works, Stamford
Sept 5 - Nov 9, 2014
about | link

therealhennessy_tweet_sidebar.jpg
TheRealHennessy Tweets Paintings, 2014 -
about

sop_red_gregorg.jpg
Standard Operating Procedure
about | buy now, 284pp, $15.99

CZRPYR2: The Illustrated Appendix
Canal Zone Richard Prince
YES RASTA 2:The Appeals Court
Decision, plus the Court's
Complete Illustrated Appendix (2013)
about | buy now, 142pp, $12.99

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"Exhibition Space"
Mar 20 - May 8 @apexart, NYC


HELP/LESS Curated by Chris Habib
Printed Matter, NYC
Summer 2012
panel &c.


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Destroyed Richter Paintings, 2012-
background | making of
"Richteriana," Postmasters Gallery, NYC

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Canal Zone Richard
Prince YES RASTA:
Selected Court Documents
from Cariou v. Prince (2011)
about | buy now, 376pp, $17.99

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