pondering art in a sci fi future

PONDERING ART IN A SCI FI FUTURE

“The development of full artificial intelligence could spell the end of the human race.” Stephen Hawkins

On Thursday the 23rd of January the Bulletin of Atomic Scientists announced that they had moved their iconic Doomsday Clock to three minutes to Midnight. Citing the modernization of nuclear arsenals and unchecked climate change this is the closest the clock has been to midnight since the height of the Cold War in 1984.

Should these apocalyptic scenarios come together silicon may replace carbon as the dominate life form assuming of course that silicon could survive the ravages of a nuclear winter and/or an overheated world. In this hypothetical situation the question that arises is how would art be appreciated, as a graphical representation or would the language/code of its production dominate?

Indirectly, the work of minimalist British artist, David Riley nods towards these imaginings. Whilst his real world exhibitions present his work in a conventional manner that can be hung upon a wall his internet exhibitions whilst having a graphical representation on a monitor depend upon their underlying codes for that reality.

Traveling the internet under the pseudonym of Revad, Riley uses social media pages for his internet exhibitions. […]

When he talks about his work Riley refers to himself as a black box and his work as outputs. As he explains on his website “when I chose the black box metaphor I was thinking like an engineer. In science and engineering, a black box is a device, system or object which can be viewed solely in terms of its input, output and transfer characteristics; and without any knowledge of its internal working. Using this well understood concept, I think I am (in) the black box. That is, I receive stimuli to make work; I apply my interest, experience and passion to making the work; I produce output and share the output I find satisfying.”

Prior to becoming an artist, Riley was a senior systems engineer for a telecommunications company who played with photography. It was this photographic interest that caused him to take up art. As he explained via email “The digital camera was the catalyst. I had dabbled in photography for many years, but hated the wait for film processing and printing. The digital camera streamlined the process and gave me instant access to the material. I then realized I could do much more than take photographs. Having made this personal breakthrough, I started to explore other materials.”

Amongst those other materials of interest was language or as he prefers to call it code and its graphical representation. And should the unthinkable happen and silicon does indeed triumph over carbon, Riley’s work, be it graphic or code, may well become the equivalent of Lascaux in that new epoch.

[…]

acknowledgements

First published on the blog The Ex Expat.
The text of this interview is copyright © 2015 by Henry Bateman.

FOR THE EXPAT © REVAD David Riley
FOR THE EXPAT © REVAD David Riley

last post on facebook

LAST POST ON FACEBOOK

  • 2018
  • Text with linked hard edged digital grid painting. Composed by (ab)using the Facebook photo handling system (as-of October 2018).
  • POD

“In the process of making my recent FACEBOOK GRID SERIES, I uploaded simple colour blocks and signed each block with REVAD[.]COM (sans the [ ]), as I have always signed my art this way. These colour blocks were then captured in the various states of presentation offered by FACEBOOK. Mainly, I screen captured the block of nine images on my timeline. I used my iPad to achieve this. I then uploaded these new square colour grids and they became part of the grid of nine. Again, I captured these new grids and uploaded them too. In this process, (I felt) I was doing nothing wrong. I was uploading images I liked (and I had made) and referencing the maker’s web site (my web site), something many users do all the time. However, it seems my process fell foul of the FACEBOOK automatic spam detection ‘BOT. And so, this harmless art has been arbitrarily censored and hidden from us all. I say ‘hidden’ because I can find the images in my ‘support inbox’, but I cannot see them on my own timeline, as had been promised by the censor ‘BOT messages I have received. Additionally, the FACEBOOK ‘BOT has deemed my artist website to be ‘unsafe’ and blocked anyone from entering the URL in a post or comment (this block has since migrated to INSTAGRAM too). Which is ironic, given it is the safest it has ever been, after I spent a good deal of time adding an SSL certificate and removing all analytics and other potential sources of personal data tracking (goodbye GOOGLE analytics). So, here I am with a censored profile and not able to link my profile or page to my artist web site. There is also no clearly documented process to challenge this situation. But, I am an artist and I am always very happy when my art gets a reaction! I will be leaving this profile as-is until such time as the censorship is removed and my artist web site is unblocked. Should you wish to see the censored art in another context, I will attempt to install a link in the comments below.” REVAD 2018-11-05

Of course, this is a quote directly from my Facebook @revaddotcom profile. I have included one of the ten outcomes below and a link to a POD gallery displaying all ten above.

2018-10-25-14-32 (GRID) © REVAD David Riley
2018-10-25-14-32 (GRID) © REVAD David Riley

UPDATE: “my web site is no longer deemed ‘unsafe’. My posts have been released from limbo. However, I have deleted most of them. To be safe, I have removed links to R E V A D . C O M from the rest. I still consider FACEBOOK an unsafe place for direct connection to my safe, no tracking, artist web site. I am giving myself a cooling off period, before I consider what to do with this [FACEBOOK] account in the future. I have also removed direct links to R E V A D . C O M from my FACEBOOK PAGE. The same cooling off period applies there. No doubt I’ll be back sometime, if only to disable this [FACEBOOK] account. In the mean-time, you know how to find me elsewhere…” REVAD 2018-11-09

UPDATE: “After some thinking time, I have relinked this [FACEBOOK] profile and my page to revad.com. I have also linked a fresh Instagram account. But, there will be no more Facebook or Instagram inspired enquiries. In future, any major fidgeting will happen elsewhere.”. REVAD 2018-11-12

blacklisted – red – black

BLACKLISTED – RED – BLACK

  • 2018
  • A gradient map adaption of an original installation, constructed from a fusion of real and virtual components, mixing marker pen ink, on layered layout paper, with projected light. An outcome from the installation deconstruction phase. Recorded during an enquiry into ABSTRACT TEXT. Seeded by a text beginning with BLACKLISTED…
  • POD
BLACKLISTED - RED - BLACK © REVAD David Riley
BLACKLISTED – RED – BLACK © REVAD David Riley

nucle – one – red to green

NUCLE – ONE – RED TO GREEN

  • 2018
  • A gradient map adaption of an original installation, constructed from a fusion of real and virtual components, mixing marker pen ink, on layered layout paper, with projected light. An outcome from the installation deconstruction phase. Recorded during an enquiry into ABSTRACT TEXT. Seeded by the text NUCLEAR FISSION SAVES LIVES.
  • POD
NUCLE - ONE - RED TO GREEN © REVAD David Riley
NUCLE – ONE – RED TO GREEN © REVAD David Riley

nucle – three – orange to blue

NUCLE – THREE – ORANGE TO BLUE

  • 2018
  • A gradient map adaption of an original installation, constructed from a fusion of real and virtual components, mixing marker pen ink, on layered layout paper, with projected light. An outcome from the installation deconstruction phase. Recorded during an enquiry into ABSTRACT TEXT. Seeded by the text NUCLEAR FISSION SAVES LIVES.
  • POD
NUCLE - THREE - ORANGE TO BLUE © REVAD David Riley
NUCLE – THREE – ORANGE TO BLUE © REVAD David Riley