Yahoo! Tech | Wednesday, July 23rd 2014
“I love the question,” Michael Connor, editor and curator of online arts entity Rhizome.org claimed — before immediately questioning the question: “Is the ‘Mona Lisa’ anyone’s favorite work of art, or is it just the best known?”
ArtReview | Wednesday, July 16th 2014
Speaking at the Rhizome ‘Seven on Seven’ conference in New York in May, the media theorist Kate Crawford went further, linking the idea of normcore to a larger fantasy of disappearance that, she said, “has become cool at the very historical moment when it has become impossible, because of Big Data”.
Gallerist | Wednesday, July 16th 2014
Rhizome, in partnership with the Tsinghua Art & Science Media Lab and the Center for Art and Technology, has announced a new annual grant called the Prix Net Art, an international award for art made on the internet. The haul will be $10,000, and it will arrive, the announcement says, with “no strings attached.” Go crazy, net art kids
Wired | Wednesday, July 16th 2014
*The brand new and surprisingly lucrative Prix Net Art. There’s no “dot” in the net.art, but maybe you can get that engraved later.
ZDNet | Thursday, July 10th 2014
Since the dawn of the internet, artist and media makers have grappled with the question of authenticity. I am not referring to "the authentic self," though there has been plenty of that too. I mean literally, how do we know who owns a piece of digital art? There is no way to verify who first uploaded it or see the history of its "transactions" — how it has traveled and multiplied across the Internet. Enter Monegraph.
Killscreen | Tuesday, June 24th 2014
The digital art archivists at Rhizome have excavated and extracted files from the computer that contains Cory Arcangel’s 2005 "Bomb Iraq", so now you can experience a piece of art from the creator of "Super Mario Clouds" in your browser.
NPR Marketplace | Thursday, May 29th 2014
Aside from maintaining a blog of screenshots of every computer that makes an appearance on the show, Thompson used the opportunity to track other technology-related data. For example, he maintained a list of every URL used throughout the series, as well as a chart that tracked the parallels between the drop off of computer useage on the show in tandem with the burst of the dot-com bubble. The chart below shows the number of computers used per season, while the following chart tracks the closing price of the Nasdaq (in light grey) over the same years.
Dazed | Friday, May 23rd 2014
The film From yu to me is about the history of the internet in Yugoslavia, and opens questions about what happens to the internet when a country disappears. While it's easy to imagine that the internet is as accessible as air, an omnipresent cloud exempt from the confines of cables, in reality it exists in physical form – in a building somewhere there are metres of wires, leads and servers that can be disconnected. This concept is known as internet realism.
Yahoo! Tech | Thursday, May 22nd 2014
First, let’s talk about .yu. The film offers a brief history of the intersection of technologies of connection and the politics of a nation-state coming apart. Even before the World Wide Web, the top-level domain was relevant to email, and one category was the country-specific top-level domain. Yugoslavian technologists saw to it that .yu was registered, in the late 1980s.
Vogue | Thursday, May 15th 2014
The amped-up crowd grew momentarily hushed with confusion when it came time for David Kravitz and artist Frances Stark to present their project—and the stage remained empty. The lights then dimmed and a chat session appeared on a screen; as it turned out, Stark and Kravitz decided not to make anything at all. Instead they staged an amusingly awkward online chat, in absentia, as the audience voyeuristically looked on. Viewers began tittering as the pair discussed everything from online sex (“We could start by opening the kimono,” suggested Stark) to middlemen and ghosts. At the conference’s after-party, Kravitz, a fan of Andy Kaufman, explained he’d been recently thinking about stand-up comedians who “deliberately attempt to evoke a wide variety of emotions, including laughter.”
Fast Company | Wednesday, May 14th 2014
Creepy? Sure! But that's partly the point. According to its New York-based creators, Kate Ray (a developer) and Holly Hendon (an artist), it is largely a social experiment meant to raise questions about our chatting behavior--to make us conscious of things like body language and facial tics when we're gossiping about our pals or sharing embarrassing links to BuzzFeed. The duo unveiled the project this past weekend at the art and tech conference Seven on Seven.
Public Radio Exchange | Monday, May 12th 2014
An in-depth exploration of the history and cultural implications of Impossible Music and Black MIDI. This audio documentary explores the concepts behind Impossible Music; a genre of music that exists primarily to challenge the specifications of the producers computer, with an interview of Rhizome curator Michael Connor.
TechCrunch | Friday, May 9th 2014
When oil painters sell their work, the value proposition to the buyer is clear. They’re purchasing the expression itself. There is no other copy. Someone could photograph the painting, but the buyer owns the source. Ideally, Monegraph could equip digital artists with a similar value proposition. “Sure, people are copying and sharing my image all over the web, but you can own the original.”
The Verge | Thursday, May 8th 2014
As Raskin noted during the presentation, he sometimes feels as though "the best minds of our generation, through no fault of their own, are working on things that steal our attention." After 10 hours in a room, focusing intently on a single-serving collaboration with an artist he'd never met, it wasn't exactly like much of that changed. But for two industries often chained to the demands of a narrow world, Seven on Seven did provide some room to stretch out.
Motherboard/Vice | Thursday, May 8th 2014
At the Seven On Seven conference at the New Museum last Saturday, multimedia artist Kevin McCoy and entrepreneur Anil Dash suggested a way that a cryptographic block chain like the kind used to track bitcoin transactions could also be used to establish one-of-a-kind digital artworks, confirm their authors, and develop a market for online art.