jonathan chomko

www.left-right-left-right.com presents the user with an alternating text; left, right, left, right. The words are synchronized across all browsers, ensuring that each visitor sees the same text at the same time.

The text can be used as a script for movement, left foot right foot left foot right foot. Following these instructions, online visitors walk in sync with all each other, echoing the synchronization that occurs when friends and lovers walk together side-by-side.

Left right left right

www.the-lights-going-on-and-off.com ports the functionality of Martin Creed's Turner prize winning installation to the internet.

With the browser as the gallery space, this work aims to move beyond the screen and into the home of each visitor - viewing the website in a dark room, the website serves as a light source, bringing Creed's original work into the home.

the lights going on and off

min guhong mfg.

“the Numbers that fix the time don’t matter for the min guhong mfg clock.”

min guhong mfg. clock

“In typography, rivers (or rivers of white) are gaps in typesetting which appear to run through a paragraph of text due to a coincidental alignment of spaces. Rivers can occur regardless of the spacing settings, but are most noticeable with wide inter-word spaces caused by full text justification or monospaced fonts. Rivers are less noticeable with proportional fonts, due to narrow spacing. Another cause of rivers is the close repetition of a long word or similar words at regular intervals, such as ‘maximization’ with ‘minimization’ or ‘optimization’.”

river (typography)

“You are a virus. there are 10 humans in the world. 5 are weak. 5 are strong. find the weak. and infect them all. for the peace of the world.”

“this may be a big game, or small reality.”

virus simulator

niko princen

"I believe that the arts which aim at imitating the creations of nature originated in the following way: in a tree trunk, a lump of earth, or in some other thing were accidentally discovered one day certain contours that needed only a very slight change to look strikingly like some natural object. Noticing this, people tried to see if it were not possible by addition or subtraction to complete what still was lacking for a perfect likeness. Thus by adjusting and removing outlines and planes in the way demanded by the object itself, men achieved what they wanted, and not without pleasure. From that day, man's capacity to create images grew apace until he was able to create any likeness, even when there was no vague outline in the material to aid him." 

On Sculpture by Leon Battista Alberti (1464)

Origin 2020

A frame of slowly shifting colour. change becomes visible as dissonance between The saturated eye and the presented colour. 




Colour-time

Olly bromham

two random emojis overlayed to become a new symbol.

Two emoji

harm van den dorpel

This artwork uses an algorithm called 'Cartesian genetic programming', as proposed by Julian F. Miller and Peter Thomson, approximately twenty years ago. It is called ‘Cartesian’ because it represents a program using a two-dimensional grid of nodes. By its nature, its genetic encoding contains many redundant genes, which are well known to assist in effective evolutionary development.

In Mutant Garden, clicking one rectangular 'mutant' will cause its siblings to be replaced with newly mutated offspring. This breeding strategy requires only one parent to be selected because the algorithm is the most effective when mutation, rather than cross-over, is applied.

As many people nowadays equate articifial intelligence with neural networks, the artist wants to highlight other moments in this recent history of computation, approaching it as algorithmic archeology. Each new innovation in this lineage aimed to improve or render its predecessor obsolete, yet would simultaneously stand on its shoulders.

In hindsight, this work can be regarded the fifth installment of the artist's chronological inquiry into the history of computation, preceded by Markov's Window (2004), Death Imitates Language (2015), Algues Artificielles (2017), and Nested Exchange (2018).

mutant garden

A tool for ambiently measuring time. set the length of time the incense stick should burn for, light it, and meditate on your task.

Incense timer

Jasmijn visser

The work draws its title from a personal tale. Ruth, the artists’ grandmother, earned her livelihood producing mechanisms for industrial clocks in the Burk factory in the Black Forest. There she drilled holes in gears for over three decades. An infamous protagonist in the Burk factory was known as The Stopper. Once a month, he would monitor the workers’ productivity and efficiency, one at a time. On a small stool, he sat by Ruth, and audited her production and assembly pace, stopping the time with the finishing of each tiny element. Careful not to work either faster or slower than usual, she would work on the mechanics in complete synchronicity with The Stopper. With this act a tiny universe was created: The Stopper stopping time in the time production factory.

In an era marked by efficiency protocols, digitisation, and decreasing attention spans, Jasmijn Visser’s work The Stopper pays tribute to mechanics and manual labor. The Stopper is a website that renders visible the universal notion of the violence within the act of stopping.

A project by Jasmijn Visser in collaboration with Jungki Beak, designed by S†ëfan Schäfer, programming by Daniel Farr, and commissioned by Kunsthalle Amsterdam in co-production with the Moscow Biennial For Young Art. A subsequent edition of The Stopper was be shown at Song Eun Project Space in Seoul September 2018, in collaboration with Delfina Foundation.



The stopper II

12 years left; 2 degrees; half earth. The future is rendering.

Little brother is an infinite countdown clock. 

special thanks to Trang ha and Kunsthalle amsterdam.



Little Brother

hyphenation is a typographic operation: by dividing words (usually at the end of a line on a page) with a dash ("-"),  information can be fit efficiently on a piece of paper. the written word is chopped up, based on semi-systematic hyphenation rules, that mimic the sound in our minds, when we trace and pronounce the words with our eyes.

unlike paper, on the internet there are no finite bounds. text can flow freely on the screen, expanded by scrollbars. in this work, an automated computer voice is programmed to (clumsily) read out the word segments. this brings the text on the webpage back to its printed predecessor, and from print back to spoken word.

hyphenation

wakest

a blip of an idea
part of an ongoing series of playing with punycode domains

the procsess of registering it is the artwork...

☭.ml (Communism via Machine Learning)

aaajiao

# lorem ipsum
## http://t-h-e-s-p-a-c-e.com/lorem-ipsum/
## website
## 2017

a collaboration of quanquan.

[*aaajiao*](https://eventstructure.com/)’s “lorem ipsum” proposes a prototype of an ideal user interface, seemingly perfect and compatible with any language, and any website or application.  Work from aaajiao's solo exhibition *[User, Love, High-frequency Trading](https://eventstructure.com/User-Love-High-frequency-Trading)*.

https://en.wikipedia.org/wiki/Aaajiao

Lorem Ipsum

ryan kuo

 the File is an ongoing process work rooted in (but not limited to) hypertext. you are invited to acquire a unique page of the File that provides access to the File, which will receive updates as long as the artist is alive. in addition to making the artist accessible, the File allows the user to file the file in the file.

this work is one of three works curated by nora khan 

websites