Flash-Based Super Mario Bros. Super Synth [Updated]

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Got too much time on your hands on this lazy Monday? Head over to Nintendo news-site 4 Color Rebellion:

Super Mario Bros. Super Synth!

And play with the Super Mario Bros. Super Synth! A collection of samples from the classic NES title, this will either make your office-mates laugh, cry, or go completely insane. Enjoy!

Ed: Best. Sound. Designs. Ever. Unless you can think of another half-second blip that's immediately recognizable. Oh, and what's "work"? -PK

Mo Mario Muso:

While we're sharing gratuitous Mario musical love, from CDM2's Graphic Designer Nat comes this link: Super Mario World, Fully Orchestrated [onetonnemusic].

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Originally posted on createdigitalmusic.com by editor@createdigitalmusic.com


NODE.London - States of Interdependence

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marc garrett:

NODE.London - States of Interdependence

A collaborative text written by Marc Garrett and Ruth Catlow, for "Media Mutandis: A Node.London Reader" (to be published in February 2006).

There is a Sufi fable in which a group of foreigners sit at breakfast, excitedly discussing their previous night’s exploration. One starts saying “…and what about that great beast we came across in the darkest part of the Jungle? It was like a massive, rough wall.

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Originally posted on Rhizome.org Raw by marc garrett


Celebrating 40 Years of Leonardo: Archives now available on JSTOR

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Kathleen Quillian:

Celebrating 40 Years of Leonardo
Leonardo and Leonardo Music Journal Archives Now Available on JSTOR

At the age of 40, Leonardo Da Vinci was living in Milan and just beginning to hit his stride. He was dreaming of creating "The Gran Cavallo" and the painting of "The Last Supper" was soon to be commissioned.

On the eve of its 40th anniversary, Leonardo/ISAST, like its namesake, is hitting its stride. The new Leonardos in our network are busy creating the new art forms of our age. To promote and document the work of these artists who work at the intersection of art, science and technology, Leonardo/ISAST publishes several journals and a book series, co-sponsors conferences and events, sponsors an award program and collaborates with dozens of other like-minded organizations around the world.

Forty years ago Roy Ascott was working on his text The Cybernetic Stance, David Bohm was writing On Creativity, Alcopley was preparing his interview with Edgar Varese, and C.H. Waddington was writing New Visions of the World. These texts, along with those written by Richard Land, Frank Malina and others established the first volume of the Leonardo library.

We are happy to announce that these articles, along with thousands of other Leonardo and Leonardo Music Journal texts by artists and researchers around the world working at the intersection of the arts, sciences and technology, are now available through the JSTOR Arts & Sciences III Collection. Current Leonardo and Leonardo Music Journal subscribers can now search, browse, view, and print full-text PDF versions of the JSTOR collection for an additional $25 annual access fee. Contact MIT Press at journals-orders@mit.edu to set up your access today. The JSTOR Arts and Sciences III Collection is also available to users at participating institutions. To find out if ...

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Originally posted on Rhizome.org Raw by Kathleen Quillian


Nam June Paik, 73, Dies; Pioneer of Video Art Whose Work Broke Cultural Barriers

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Nam June Paik was an avant-garde composer, performer and artist who was widely considered the inventor of video art.

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Originally posted on NYT > Arts by Rhizome


Interview with MTAA by Lauren Cornell

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Lauren Cornell:

+Commissioned by Rhizome.org+

An Interview with MTAA by Lauren Cornell

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Artists M. River and T. Whid formed MTAA in 1996 and soon after began to explore the internet as a medium for public art. The duo's exhibition history includes group shows and screenings at The New Museum of Contemporary Art, Postmasters Gallery and Artists Space, all in New York City, and at The Getty Research Institute in Los Angeles. International exhibitions include the Seoul Net & Film Festival in Korea and Videozone2 -The 2nd International Video Art Biennial in Israel. In the forthcoming New Media Art (Taschen, 2006), authors Mark Tribe and Reena Jana describe MTAA's 1 year performance video (aka samHsiehUpdate) as 'a deftly transparent demonstration of new media¹s ability to manipulate our perceptions of time.' The collaboration has also earned grants and awards from Rhizome.org, Eyebeam, New Radio & Performing Arts, Inc. and The Whitney Museum¹s Artport web site.

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LAUREN CORNELL: Can you tell me a little bit about your net art pre-history, and how you met and started collaborating?

M. RIVER: I began working with performance and collaboration in grad school at Cranbrook (outside of Detroit). Driving North nonstop for 4 days until the road runs out, breaking into stranger's yards and mowing their lawns, backyard camping at mansions‹my friends and I did these things together and called it 'Art.' It felt like 'odd sculpture' for me then. What I do with Tim in MTAA often reminds me of that feeling. From Cranbrook, I headed blindly to Brooklyn where coincidentally, Tim had also just moved. One day Tim called and asked if I wanted to collaborate on some paintings. I said, 'Yes.' And we've been working together under the name MTAA since.

T. WHID: I was working exclusively on underground ...

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Originally posted on Rhizome.org Raw by Lauren Cornell


interactive waterfall display

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interactive_waterfall.jpg

An interactive art installation built in a new children's hospital. as people move in front of this display they affect ripples of virtual water colours. the more they move, the faster the colours change, encouraging children to be more active & playful. when there is no or little activity in front of the waterfall, the display phases simple rainbow colors & ripples lightly. [setpixel.com]

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Originally posted on information aesthetics by fofoda


The Perpetual Art Machine

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newpodium.jpg

Invitation to Participate

Cinema-scope and IFAC are seeking video art submissions for: PAM - The Perpetual Art Machine to be premiered as a featured project at the -Scope New York Art Fair March 10-13, 2006.

PAM is an interactive video display installation and network designed to aid in the curatorial process by allowing artists and the viewer to play a more active roll in its outcome. PAM is an international survey of cutting edge and progressive film, video and new media art. PAM is looking for looking for screen based works up to three minutes in length and created after 2001. Writers and Curators encouraged to take part as well. Deadline: February 20, 2006, sooner the better.

Step 1: Register at http://www.perpetualartmchine.com. Once you have received your confirmation you will be able to set up your profile (contact, bio, etc) and have access to other community tools in the site.

Step 2: Submit Your Video

NTSC video only (Quicktime .MOV or .MPEG or DVD)
Best case rendering:
Quicktime, 16-bit Integer (Big Endian), Stereo (L R), 44.100 kHz, Photo - JPEG, 720 x 480, Color, Medium Quality, 15fps.

Include five keywords that describe your piece. Please have disk and materials properly marked with artist name and artwork information, Name, year, duration.

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Read through for information on three different ways you can submit work

Originally posted on networked_performance by jo


Take This Job And Play It

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Games have long played a role in transmitting dominant values and occasionally challenging them. Board games like Monopoly, Risk, and Life reward players for successfully assuming the roles of capitalist entrepreneur, military strategist, and head of a nuclear family. Of course, digital games are no exception. Artists and designers have ventured into the rhetorical and counter-rhetorical possibilities of digital games, resulting in examples like C-Level's 'Waco Resurrection' and Newsgaming.com. And the commercial application of such games isn't being overlooked either. A small Atlanta-based company called Persuasive Games produces games designed for purposes ranging from teaching chemistry to aiding political campaigns to training employees. Their most recent game, 'Disaffected,' is described as an 'anti-advergame' that, like the practice of 'culture jamming,' uses parody to challenge corporate influence on our lives. In the game, players become pixelated employees at a FedEx-Kinkos copy center, trying to keep up with customer orders despite numerous obstacles--mostly, the other employees. One wonders, however, about an 'anti-advergame' that so prominently features a corporate logo and presents the employees as the problem. Who’s really being played? - Ryan Griffis

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