Some positive news about the global response to coronavirus, for a change.
Coronavirus in Africa: Five reasons why Covid-19 has been less deadly than elsewhere – BBC News
Many African countries have been praised for waging an effective campaign to combat the spread of coronavirus despite their reputation for having fragile state heath systems. The continent, which has a population of more than one billion, has had about 1.5 million cases, according to data compiled by the John Hopkins University. These figures are far lower than those in Europe, Asia or the Americas, with reported cases continuing to decline.
They list the following reasons — quick action, public support, young population and few old-age homes, favourable climate, good community health systems — but I think they’ve missed one out. No yodelling!
Finger pointed at Swiss yodelling ‘superspreader’ concert – France 24
“We can’t do anything about what happened with this yodelling group. We found out nine days after the performances that several people from the group were infected,” event organiser Beat Hegner told RTS public television. Now the pandemic has spread through the region, with 1,238 cases compared with just 500 in mid-September. On Wednesday alone, 94 people tested positive, twice as many as the day before.
Photo Valeriano Di Domenico
Artnome’s Jason Bailey on a generative art exhibition he co-curated.
Kate Vass Galerie
The Automat und Mensch exhibition is, above all, an opportunity to put important work by generative artists spanning the last 70 years into context by showing it in a single location. By juxtaposing important works like the 1956/’57 oscillograms by Herbert W. Franke (age 91) with the 2018 AI Generated Nude Portrait #1 by contemporary artist Robbie Barrat (age 19), we can see the full history and spectrum of generative art as has never been shown before.
Zurich’s a little too far, unfortunately, so I’ll have to make do with the press release for now.
Generative art gets its due
In the last twelve months we have seen a tremendous spike in the interest of “AI art,” ushered in by Christie’s and Sotheby’s both offering works at auction developed with machine learning. Capturing the imaginations of collectors and the general public alike, the new work has some conservative members of the art world scratching their heads and suggesting this will merely be another passing fad. What they are missing is that this rich genre, more broadly referred to as “generative art,” has a history as long and fascinating as computing itself. A history that has largely been overlooked in the recent mania for “AI art” and one that co-curators Georg Bak and Jason Bailey hope to shine a bright light on in their upcoming show Automat und Mensch (or Machine and Man) at Kate Vass Galerie in Zurich, Switzerland.
Generative art, once perceived as the domain of a small number of “computer nerds,” is now the artform best poised to capture what sets our generation apart from those that came before us – ubiquitous computing. As children of the digital revolution, computing has become our greatest shared experience. Like it or not, we are all now computer nerds, inseparable from the many devices through which we mediate our worlds.
The press release alone is a fascinating read, covering the work of a broad range of artists and themes, past and present. For those that can make the exhibition in person, it will also include lectures and panels from the participating artists and leaders on AI art and generative art history.
Process Compendium (Introduction) on Vimeo