Control Freaks

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Control (or the illusion thereof) defines the relationship between the gamer and the game. This power dynamic is key in 'Controller: Artists Crack the Game Code,' an art arcade that opens at Toronto's InterAccess Electronic Media Arts Centre on February 24. By manipulating code and elements in video games, five artists--Myfanwy Ashmore, Tasman Richardson, Anita Fontaine + Yumi-co, Prize Budget for Boys, and RSG--subvert game designers' god-like status in the virtual worlds they create. Myfanway Ashmore's 'Mario Trilogy' offers three versions of the original Super Mario Brothers game, all designed around the inevitability of Mario's death. Anita Fontaine + Yumi-co's 'CuteXdoom' implicates coders and gamers alike as slaves to the consumerism underlying our cultural 'addiction to cuteness.' And Tasman Richardson's 'Apollo Shrapnel: Part 01' video (abstract canvases created from captures of Atari game manipulations) signals complete appropriation of media control by the artist. - Peggy MacKinnon

http://www.interaccess.org/exhibitions/future.php

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Originally posted on Rhizome News by Rhizome


Pneumatic Parliament

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Instant Democracy

The icon that combines the western democracies and that self-legitimizes them in a millennial historical tradition is the parliament, the physical place where the people's designated representatives rule. This icon has also become the holy symbol of the western crusades against the so-called 'regimes'. These are forms of government, just located in economically strategic areas not by accident, that employ less linear elective systems. The Pneumatic Parliament project by Peter Sloterdijk and Gesa Mueller van der Haegen brings a sarcastic thrust to the pretended western democracies' supremacy, and to their claim of exporting their own model to other states. The work has been developed in the context of the 'instant democracy' project and it consists of a structure for parliamentary assemblies that can be air-dropped and that self-opens into almost the final form. After minimal corrections of positions it automatically becomes self-sufficient also for its own energy supplying. Perfectly placing itself in the psychological territory of the so much pushed 'fight the international terrorism' propaganda, the project narrates of fictional (but sadly plausible) institutions, that commissions to a single entity the building of the supporting infrastructure of their invasive politics. [via neural]

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Originally posted on networked_performance by jo


Copyright Criminals Remix Contest extended; New Chuck D and George Clinton samples added

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Great news for all you producers, DJs, and remixers: the Copyright Criminals Remix Contest over at ccMixter has been extended by two weeks, ending on March 14. Additionally, new vocal samples from influential rapper Chuck D (of Public Enemy) and pioneering funk musician George Clinton (of Parliament-Funkadelic) have been made available for use in the competition. Check out our latest press release for more info.

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Originally posted on Creative Commons Blog by Eric Steuer


Leonardo

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Multimedia Performances

This month in LEA, guest editors Annette Barbier and Marla Schweppe look at multimedia performances through four refreshing and different essays that explore different aspects of the topic.

We begin with Joe Geigel's Virtual Theatre - One Step Beyond Machinima, which introduces a technical framework for defining and performing a theatrical work in a virtual space. As proof of concept for this framework, a real time, distributed improvisation is showcased.

In Cybernetic Performance Art; The Trouble with Blurring the Distinction Between Art and Life, Jason Van Anden and Lauri Goldkind look at developing technology to make artworks improvisationally simulate emotional behavior in real time and space, and discover how a boundary was crossed between the disciplines of static sculpture and live performance.

Following that, we embark on a Patchwork in motion: A practice-led project investigating the shifting relationships and processes associated with the performing body in interactive and non-interactive visual environments with Maria Adriana L. Verdaasdonk.

Finally, Paul Hertz deals with VR as a Performance for an Audience, which contemplates the possibility of creating VR performances in a traditional musical performance or theatrical situation, with an audience, as a hybrid or intermedia art form.

Amnon Wolman's desktop performance unfolds differently, in real time, each time it is played. It addresses not only our ever-varying sense of time, but also the intimate space of the desktop in creating a unique, individualized performance for every listener.

Accompanying the issue is a specially curated gallery. Jack Ox's networked performance proposes multiple points of entry as well as of reception. While creating a live, real-time event, she also incorporates static images, visualizations of musical sequences.

Benoit Maubrey incorporates sound and video "accompaniment" into the body of the moving performer. Christina Ray and Glowlab challenge our notion of performance by using ...

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Originally posted on networked_performance by jo


The Lure of Internet2

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this is post2.0. The comments below were made in response to the previous version. 

Internet2-- if that does not sound like the future!! Next week on a panel at The conference of the College Art Association in Boston we will discuss Internet2 as vehicle for global artistic practice. What is Internet2? If you speak acronym-- just call it "I2." Slate.com writer Alexander Russo introduces the issues surrounding I2 in his article "Internet 2. It's better, it's faster. You can't use it." He describes I2 as the academic answer to what he calls the commercial Internet1. He envies students at Columbia University who can download the film The Matrix in 30 seconds.

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Originally posted on 'journalisms' by Rhizome


Cosmic | curt cloninger

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Deep/Young Ethereal Radio Broadcast #54:
Cosmic

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Originally posted on KALIBER10000 by Rhizome


Micro texture-synchro

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amp_Swell
Amp_swell - Sue Costabile Sue Costabile uses a variety of methods to create fragmentary movie textures and macro-abstractions. The works often occur in a live improvisational setting - using Jitter, a small camera, a light pad, various drawings and found objects she performs live video by animating the objects by hand. It's good to see this level of interfacing to the sequence of events - a nice balance between a physical hands on approach and the constrained processes of the machine. Amp_swell sees an erratic strobe of fabric print flickering in time to a twitchy electronic soundtrack by Bequeen.

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Originally posted on dataisnature.com by Rhizome


new - gallery 2006 - call for entries

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http://www.bestonweb.net/wett.htm
This project born from an idea of a group of web-workers and a cultural no-profit association that operate between Turin, Milan and Venice promoting international art.
The intention is to give a different way of reality interpretation in our IT society trought art in his main sense of espression.
Every art worker can partecipate no age or nationality restriction.

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Originally posted on MAzine blogs by Rhizome