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Clanger, a solo exhibition by Baden Pailthorpe, explores the aesthetics of power through data, bodies and technology. In an environment that is both physical and virtual, Clanger pairs the statistical tracking of AFL player performance with the emotional intensities of the crowd. Using anonymous player and crowd data captured during the 2017 AFL Round 23 Swans v Carlton game, Clanger re-stages the drama and flow of a match in its entirety. Pailthorpe moves the game from the field to the virtual plane, rendering both players and the crowd as data-borne creations caught in a deeply emotional, cultural and aesthetic tradition. In statistical terms, the word ‘Clanger’ refers to a turnover or a silly mistake made by a player in an AFL match. The criteria for each player’s usefulness is defined wholly by the data they generate during the game— AFL players are tracked using micro wearable units that include GPS and accelerometers. The amount of data generated from these devices in a given game is immense; every movement is tracked, stored and interpreted in an effort to understand performance, mitigate injury and measure value. By adopting the vernaculars of sport and gaming, the artist creates an immersive environment that emphasises the role of experience in the propagation of labour, culture, and ideas. A new 36-channel video work re-articulates the match using the two team’s GPS data, while a single-channel video work on the opposing end of the gallery/field renders the crowd via audio data captured at the game. A soundtrack by composer James Brown accompanies this work. By pairing the compelling languages of creative practice with the statistics of player performance, Pailthorpe’s Clanger demonstrates that data becomes information only by interpretation. Clanger results from Pailthorpe’s Australian Network for Art and Technology (ANAT) 2017 Synapse Artist Residency with UTS Sport and Exercise Science and professor Aaron Coutts. The exhibition is supported by a catalog

Clanger, a solo exhibition by Baden Pailthorpe, explores the aesthetics of power through data, bodies and technology. In an environment that is both physical and virtual, Clanger pairs the statistical tracking of AFL player performance with the emotional intensities of the crowd. Using anonymous player and crowd data captured during the 2017 AFL Round 23 Swans v Carlton game, Clanger re-stages the drama and flow of a match in its entirety. Pailthorpe moves the game from the field to the virtual plane, rendering both players and the crowd as data-borne creations caught in a deeply emotional, cultural and aesthetic tradition. In statistical terms, the word ‘Clanger’ refers to a turnover or a silly mistake made by a player in an AFL match. The criteria for each player’s usefulness is defined wholly by the data they generate during the game— AFL players are tracked using micro wearable units that include GPS and accelerometers. The amount of data generated from these devices in a given game is immense; every movement is tracked, stored and interpreted in an effort to understand performance, mitigate injury and measure value. By adopting the vernaculars of sport and gaming, the artist creates an immersive environment that emphasises the role of experience in the propagation of labour, culture, and ideas. A new 36-channel video work re-articulates the match using the two team’s GPS data, while a single-channel video work on the opposing end of the gallery/field renders the crowd via audio data captured at the game. A soundtrack by composer James Brown accompanies this work. By pairing the compelling languages of creative practice with the statistics of player performance, Pailthorpe’s Clanger demonstrates that data becomes information only by interpretation. Clanger results from Pailthorpe’s Australian Network for Art and Technology (ANAT) 2017 Synapse Artist Residency with UTS Sport and Exercise Science and professor Aaron Coutts. The exhibition is supported by a catalog

aden Pailthorpe’s new body of work, Pitch Deck (2017), explores the potential application of financial analysis and machine learning in contemporary art. Combining elements of high quality 3D animation, custom gaming PCs, liquid cooling, roman armour, web scrapers, champagne and startup chic, Pitch Deck is conceived as a pitch to potential investors in a business based on cultural capital. The central form of this body of work is a real company, Petricore Pty Ltd. Borrowing from key tenets of conceptual art, this company privileges concept over material form and challenges conventions of authorship and the status of the work of art. Pitch Deck, the exhibition's title work, serves as an expanded moving image pitch, whose artificially intelligent narrator outlines Petricore’s vision for an artworld inoculated against the unquantifiable risks of artworld participation. Accompanying this work are four new 3D animations; Padding, Helmet and Incubator (all 2017). These display items of speculative merchandise and tailored environments to accompany the central startup pitch. The first two feature forms of protective equipment designed for artists competing in Pailthorpe’s computationally driven combat league. The third, Incubator, imagines a speculative startup hatchery, lush in colour and rich in venture capital. All four works are authenticated using blockchain cryptography through Ascribe, a decentralised and unbreakable digital contract between artist and collector. In the algorithmically intense stages of late-capitalism, after the supposed death of the avant-garde, Pitch Deck asks us to consider whether today’s aesthetic and conceptual innovators have been absorbed by incubators rather than studios, funded by the interests of venture capitalists rather than patrons.

Simulations are reported of a highly tetrahedral amorphous carbon network at a density of 3 g/cc using Car-Parrinello first principles molecular dynamics. The simulated structure consists of 65% fourfold and 35% threefold coordinated carbon sites,in good agreement with experiment. The structure is also in good agreement with recent neutron diffraction data. An unexpected observation was the presence of small carbon rings in the structure containing as few as three atoms. These carbon triangles and quadrilaterals, which resemble the organic compounds cyclopropane and cyclobutane, give the network a topology unique among tetrahedrally bonded amorphous materials.

Simulations are reported of a highly tetrahedral amorphous carbon network at a density of 2.9 g/cm(3) using Car-Parrinello first principles molecular dynamics. The network was generated by cooling a liquid carbon sample of 64 atoms to form an amorphous structure. The simulated structure is in good agreement with recent neutron diffraction data and contains 65% fourfold- and 35% threefold-coordinated carbon sites. Three- and four-membered rings are present in the structure and give the network an unusual topology. Evidence from neutron diffraction and organic chemistry is shown to support the existence of these ring structures, which resemble the carbon compounds cyclopropane and cyclobutane. Two additional networks were produced using different cooling rates. It was found that the number of fourfold sites decreased as the cooling time increased. This result has implications for the interpretation of experiments and models of how tetrahedral amorphous carbon is formed.