FUZZ 퍼즈 Volume 1 : Beautiful Data

편집자의 글: 뷰티풀 데이터

전시: 히토 슈타이얼: 데이터의 바다

작가: 이주리
크리스챤 미오 로클래어

에세이: 레브 마노비치 ‘소프트웨어 시대의 ‘예술가'는 누구인가?’
커먼 어카운트 ‘가상의 사후세계의 건축’
타오 판 ‘아마존 에코와 ‘백’의 미학'

인터뷰: 리처드 비핸
미미 오누아
아지아오

대화: 다정한 이웃

스튜디오 방문: 양아치

Table of Contents


Editors Foreword
-Beautiful Data

Exhibition Focus
-Hito Steyerl: A Sea of Data

Artist Feature
-Juri Lee
-Christian Mio Loclair

Essays
-Lev Manovich: Who is an ‘Artist’ in the Software Era?
-Common Accounts: Architecture of the Virtual Afterlife
-Thao Phan: Amazon Echo and the Aesthetics of Whiteness

Interviews
-Richard Vijgen
-Mimi Ọnụọha
-aaajiao

Conversation Kind Neighbors

Studio Visit Yangachi

“First of all, my gut reaction when I hear the word “artificial intelligence” is to more or less deny its existence. I think the prevalent form is artificial stupidity, which is very common. It abounds all around us?stupid little algorithms everywhere?and it has also influenced photography for a long time... It’s fully naturalized into how people perceive the world. I think that’s the dominant form of anything related to algorithmic vision, although I think “AI aesthetics” is not yet fully expanded.”

-from the Exhibition Feature: interview with Hito Steryel

‘What does it mean to ‘create’ today when countless stock visual and audio media, templates, filters, effects, styles and tutorials are available to both casual and professional creators? Shall we try to simulate this contemporary ‘digital creativity’? Or do we want to match the artistic achievements and creative processes of a pre-digital, pre-software and pre-network era?’

-from the Essay: Lev Manovich ’Who is an ‘Artist’ in the Software Era?’