Nora N. Khan

PublisherGuggenheim2015
Åzone Futures Market is a Guggenheim online exhibition that enables you to take a position on the future of a world increasingly shaped by emerging technologies. New technologies are challenging our social foundations and destabilizing the ethics, practices, institutions, and worldviews that have structured our collective experience for centuries. The accelerating rate of this flood of transformations exceeds the limits of our capacity to understand the consequences and to create the lives we want to live. We need new cultural forms to help make sense of the situation. The Guggenheim is testing a new exhibition architecture in the form of an online ...
PublisherThe Shed2019
Dreams come to us in sleep. They find us while we slumber, and dreams— elusive, fleeting at times, vivid and frenetic at others—have carried our mythologies for millennia. When the body enters into its deepest sleep, rapid eye movement (REM) sleep, humans experience accelerated neuron transmissions that mirror patterns displayed during wakefulness. In REM, we humans maintain an occult moment of extreme psychological activity, and dreams are their most present, persistent, forceful. When dreams visit us as hauntings, is this how we learn to name our nightmares? Sleep then, might also be considered a pathway for that which is unwelcome.
PublisherThe Shed2019
In 1915, Kazimir Malevich painted his famous Red Square painting, more properly called Painterly Realism of a Peasant Woman in Two Dimensions (1915). I think about how incendiary it must have been at the time, how arresting. How it prefigured the general collapse of figuration, of representation, into a single, glowing screen, an ultimate abstraction of life and death that is later taken up by PredPol, a predictive policing software company. How the Red Square is not even a square, but a slightly angled parallelogram. Particularly exciting is the way it, along with its sibling Black Square (1915), references Russian ...
PublisherThe Shed2019
Why do we have such a difficult time coming up with a reliable definition for “technology”? For one, just when we think we’ve pinned it down, it refuses to stand still. Do we have any real way of maintaining a truth about a category that is constantly updating, innovating, and mutating in relation to every other concept we might use to define it? We frame technology as an other, somehow alien to our humanity. This problem of recognition becomes even more complex when we speak of the relationship between art and technology, two poorly defined terms with deeply intertwined applications. ...

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