Category: Art

Googling the Cyborg

In his engaging essay “Googling the Cyborg”, William Gibson effectively argues that the expectation that ‘the cyborg’ will be a human being with an electronic eye and a robot arm is mistaken. The cyborg – he argues – exists in the physical interactions between human beings and machines: “The electrons streaming into a child’s eye from the screen of the wooden television are as physical as anything else. As physical as the neurons subsequently moving along that child’s optic nerve”. (The terminology there is strangely incorrect. Cathode ray tube televisions emit photons, which are produced when the electrons fired from the back of the vacuum tube hit a phosphor screen – and the optic nerve is made of neurons, it isn’t a channel that conveys them. No matter.)

Gibson argues that the cyborg is the “extended communal nervous system” that humanity has grown for itself, with all these sensors and processors and network connections.

He also argues that there is a short-changing that occurs, when we deny that the humans who are behind machines are using them as true extensions of their own being. In the context of remote-controlled rovers on Mars, he says:

Martian jet lag. That’s what you get when you operate one of those little Radio Shack wagon/probes from a comfortable seat back at an airbase in California. Literally. Those operators were the first humans to experience Martian jet lag. In my sense of things, we should know their names: first humans on the Red Planet. Robbed of recognition by that same old school of human literalism.

Gibson, William. Distrust that Particular Flavor. p.251 (hardcover)

I am not sure what should be counted as the first cyborg on Mars. Specifically, did it need to be able to move on human command? Or is moving camera shutters enough to count? In any case, hardly anyone knows the name of the person who was controlling it when it first activated on the Martian surface.

Williamsburg graffiti

One of the neatest things about the Williamsburg area, in Brooklyn, is the street art. Especially down toward the waterfront, there are many walls and buildings with skilfully-executed and creative images on them.

While not the most artistically appealing thing I saw, this was the most topical bit of art. I do like the creative use of the strech-Hummer.

I started off by exploring the area west of Bedford avenue, toward the waterfront across from Manhattan.

Some buildings are nearly covered with overlapping layers of graffiti, some of it more ‘official’ than the rest. Lots of former industrial buildings are along the water, including a gigantic former sugar factory. Many of the old warehouses now seem to contain art and living spaces.

This has always been one of my favourite presidential quotations. I wonder what Eisenhower would think about the state of America today.

I like how ambiguous this image is. The hair and colours seem playful, but the mouth is truly scary.

I don’t know what it means to ‘clasm’ one’s icons, but I like this guy’s moustache.

This large rabbit is really striking, when seen in person. One of the biggest limitations with looking at art on computers is that everything gets reduced to a set scale. That can work as poorly for big pieces of graffiti as it does for Kandinsky’s giant canvasses.

This seems to be advertising masquerading as graffiti. I am not sure if the complaint written beside the woman was put there by whoever put up the large work, or by a subsequent passer-by.

I like how striking the colours are here, as well as how the verdant and bloody hues set each other off.

I wonder how the owners of this shop feel about how the Obama administration has gone so far. Do they think the ‘moment’ had been well captured?

There wasn’t much reference to climate change in the parts of Brooklyn and Manhattan I saw. Perhaps public policy capitals like Washington, D.C. and Ottawa are more seized with the question of what to do than economic capitals like New York City.

The monochrome backing really makes the shades of blue in this heart prominent.

The complex facial expression here is interesting – it looks like a combination of stoic resilience and enduring innocence.

ArtBank

This evening, I visited ArtBank – an institution of the Canada Council for the Arts that has been buying Canadian artworks since the 1970s and then renting them to government offices and private organizations.

The art is rented at 10% of its appraised price, for each year. The minimum term is two years, and the minimum annual expenditure per renting organization is $2,000. The price per work is capped at $3,600, meaning that some of the most valuable pieces are quite a deal to rent. For government offices, the necessary insurance is already in place. Private organizations need to provide written documentation of adequate insurance.

The collection includes 18,000 paintings, prints, photographs and sculptures by over 2500 artists. Sizes range from modest to gigantic. All told, it seems like a rather good resource. It’s certainly a place worth visiting, if the opportunity arises.

Food, energy, and fossil fuels

Yesterday night, I had an interesting conversation about energy, fossil fuels, agriculture, and human population. The key fact is that global agriculture is now deeply dependent on fossil fuels. They are needed for everything from running industrial farming equipment to producing fertilizer to operating the vast logistical networks through which food is processed and distributed. The key question is, what will the ramifications be when we inevitably transition from a global energy system based on fossil fuels to one based on renewable sources?

The transition is indeed inevitable, though it could happen in either of two ways. Either we can voluntarily cut back on using fossil fuels due to well-founded concerns about climate change – and awareness of the opportunities that exist in renewable energy – or we will draw down reserves to the point where it takes more energy to extract one calorie worth of fossil fuel than the fuel contains.

So, what might the post-fossil-fuel world look like? To get one idea, we can consider the world as it existed before the Industrial Revolution brought about large-scale fossil fuel use. Back in 1500, there were about half a billion people alive on Earth. The energy they relied upon was overwhelmingly from renewable sources, such as the embedded solar energy in plants. It seems plausible that returning to that kind of an energy system would return the planet’s capability of sustaining human beings to about the level that existed then: a bit higher, perhaps, because people now live in more places, and a bit lower, perhaps, because of the damage we have caused to the planet in various ways.

For an alternative, we need to consider an enhanced renewable-backed future that includes clever approaches to harnessing renewable sources of energy: solar, wind, wave, geothermal, etc. It seems to me that if we are going to have a world that does not use fossil fuels and which sustains something like as many billions as are alive now (to say nothing of in 2050 or later), such technologies are going to need to be deployed on massive scale and the world’s agricultural systems will need to be adapted to rely on them.

Fossil fuels have been an enormous energy boon for humanity. Quite possibly, they have allowed us to far overshoot where we would otherwise have been, in terms of energy use and population. Quite possibly, both of those will need to fall substantially in a post-fossil-fuel world. If there is any chance of that not taking place, it will depend on the massive deployment of the kind of advanced renewables that are already technologically feasible. That deployment will take dedication, foresight, financing, and energy. Indeed, there is surely no better use for whatever proportion of the world’s remaining fossil fuels we choose to burn than in making the solar and wind farms that will need to form most of the future energy basis for all human civilization.