Interview of Vuk Cosic


00intervuk.jpg [....]Speed bio:

Vuk Cosic was the Slovenian representative to the Venice Biennale in 2001, he's the co-founder of Ljudmila -- a digital media lab for artists in Slovenia and of the ASCII Art Ensemble and of course he's a pioneer in the field of He gained the notoriety for having copied the DocumentaX website in 1997. After the art event closed, the website was set to shut down. And it did closed, but not before Cosic copied it. And it's still up.

In History Of Art For Airports, Cosic reduced icons of the art into the kind of pictograms found on lavatory doors. Still, the images are instantly recognisable, such as the Venus de Milo, Cezanne's Card Players and Warhol's Campbell's Soup.

Cosic is a Master of ASCII art. He uses ASCII as a filter through which other media are shown: music videos, films, pornos, video games:
ASCII history of art for the Blind
, ASCII history of the moving images (includes some black and green clips from Deep Throat, Blow Up, Star Trek), ASCII music videos (features Baby Light My Fire, California Dream, Venus, etc.) ASCII architecture consisted in fully covering the St. Georges Hall, a neo-classical monument in Liverpool, with the projection of ascii rendering of the same surface that it's being projected on.

One of his most recent works is the File Extinguisher, an online service that allows you to delete your files with absolute certainty.

0deepthroatscreenshot.jpg 0startrek.jpg
ASCII history of the moving images: Deep Throat + Star Trek screenshots

Time for the interview:



Originally posted on we make money not art by Rhizome

Computer Programming as an Art


"It seems to me that if the authors I studied were writing today, they would agree with the following characterization: Science is knowledge which we understand so well that we can teach it to a computer; and if we don't fully understand something, it is an art to deal with it. Since the notion of an algorithm or a computer program provides us with an extremely useful test for the depth of our knowledge about any given subject, the process of going from an art to a science means that we learn how to automate something."

From Donald Knuth's 1974 ACM Turing Award Lecture, Computer Programming as an Art. More recommended reading at Babar K Zafar's Classic Texts in Computer Science.

via Tom Cardens post on Computing for Emergent Architecture


Originally posted on Interactive Architecture dot Org by Ruairi

Just some shameless self-promotion


The Dream Machine: dream exchange and repository

ps. if you call, i'll be your best friend! unless you have weird dreams about your friends, then we'll just be acquaintances. [:..;.] rarr!! ->hn


Originally posted on Eyebeam reBlog by huong

electro class: a crunk genealogy


cross posted to the riddim method | giffordization by 893

next tuesday is the first meeting of my electronic music class at the harvard extension school. this will be the second year i've taught the course, and i'm excited that this year the class can be taken from a distance as well as here in cambridge. i look forward to having some non-local perspectives added to the already rather diverse set the extension school attracts.

we'll be starting off with a bang--or at least an eerie sort of hum: the renowned--and awesome--theraminist, pamelia kurstin, (who's playing at beat research the night before) will be the first of many talented guests to share perspectives on techniques and technologies with us (and usually, hopefully, a wicked demo). over the course of the semester we'll also be joined by paul dailey, DJ C, DJ axel foley, david day, DJ BC, keith fullerton whitman, and DJ flack.

i've been making gradual changes to the syllabus, and i still view it as a work in progress and as a growing resource for various people hoping to learn more about some of these musics, these artists, and their socio-cultural and historical contexts. [Much more, including a nice track list....]


This looks like a great class! ~marisa

Originally posted on wayne&wax by Rhizome



CALL FOR WORK AND PARTICIPATION ++Art Work and Creative Practices

++Papers Presentations, Panels, Workshops, Intellectual Environments and Practices

Perform.Media ��'�" A Transdisciplinary Festival of Creativity, Research, Theory and Technoculture
September 29th-October 14th, 2006, Indiana University, Bloomington, Indiana


Deadline for Abstracts: April 30th, 2006

Deadline for Proposals: April 30th, 2006

Deadline: May 15th, 2006

Perform.Media is an international media arts festival and symposium creating an innovative venue for creative and intellectual work around the momentary process and performance in new media art and culture. We begin with the premise that newer media, along with modes of representation and narrative, embody momentary processes from roots in cybernetics and the biological, to the embodied performance of interface, improvised network exchanges and spontaneous social acts in multi-user synthetic worlds. Such mediated experiences and actions form meaning in sense experience and performance along with interpretive processes like depiction and reception. The dynamic, reciprocal process of the user(s) generating, configuring, interacting, choosing and authoring is an important component of new media and technologies, expressed in both the design of the media and in the momentary, improvised performance of the participant.
The festival and symposium seeks the accordance and collision of ideas through the lens of interdisciplinarity, exploring the performance of new media and the performative qualities of human-computer and technologically mediated social interaction. Perform.Media will examine sense experience and meaning at the threshold and in the performing action, along with the reflexive construction of narrative, where creative play, social practices, augmented embodiment and exploratory methods establish processes that spin out, overlapping locales of influence, in networked, ��'��"glocal��'�, mobile, participatory, socially interactive, live processed, locative, responsive and multi-user realms.
Perform.Media ...


Originally posted on Raw by andrew bucksbarg

Helen Evans and Heiko Hansen


HeHe (Helen Evans and Heiko Hansen) reverse cultural engineers the technological systems that surround us: From transport design to pollution monitoring, from public advertisement to meteorology, from architecture to public lightning. Their work seeks to go back in time, re-work past and as a result, re-phrase the existing into a new critical usage, a social function, with the spectator in its epicentre. Here's a quick synopsis of their projects over the past couple of years that I found most relevant to interactive architecture

Interactive Architecture related Projects
'~Atteindre le Silence'

'~Atteindre le Silence' is a site-specific work that amplifies the vibrations of a space. The installation rendered the listed parquet floor into a sensitive surface, so that as people walked, they caused fluctuations in light and triggered sounds in the space. The idea corresponds to the past and present usage of the space; which was built as a grand ballroom and now serves as a space for theatre, dance and exhibitions. Following the symmetry and pattern of the rococo architecture, an interactive electronic system was integrated with the interior so that it is hardly noticeable to the visitor. It operated as an oversized electronic circuit, designed to metamorphose any micro vibrations within the space. The salon of the château became a reactive space that was stirred by those who moved within it. '~Atteindre le silence' is a work that asks people to be still. As people moved, any vibrations on the floor manifestly shifted electrical voltages around the space. The force, duration and location of vibrations coming from the ballroom floor determined the sound oscillations in space and altered the intensity of the light pulses coming from the chandeliers.

Bruit rose

Bruit rose (Pink noise in English) is a musical term that describes a random electronic noise across all ...


Originally posted on Interactive Architecture dot Org by Ruairi

Control Freaks


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


Originally posted on Rhizome News by Rhizome

Pneumatic Parliament



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]


Originally posted on networked_performance by jo