'Clockwork,' a documentary-style series of four short multi-channel video works by Jeanne C. Finley and John Muse, centers around the concept of time--as social ordering tool, as cultural construct, and as an intrinsic element in video art. The project features clips recorded at a dentist's office, a hair salon, a massage therapist's studio, and a teenage boys' sleepover party. Catalyzed by the viewer's voyeuristic gaze, the pieces (titled Drill, Shampoo, Massage, and Birthday) aim to 'restructure the long arc of these intimate relations, revealing otherwise invisible habits of work and play.' The images serve as indices for ideas surrounding our relationship with time, work, leisure, and self, while foregrounding the ambivalent role of technology in human culture since the dawn of the machine age. West Coast readers should make time to visit San Francisco's Patricia Sweetow Gallery before February 11. - Peggy MacKinnon
I've been making little movies since 2003 now & there's nearly 100 of them. In the meantime vlogging has really taken off, so it seems like a natural thing to present the sequence so far in this format, with any new ones I make in the meantime interspersed amongst the old.
For about the next hundred days or so I'll post pretty much everyday and afterwards as and when. You can see the first five ( two of which, 'bicycle' & ''counting -cell phone and strings remix', are new) at
If you've enjoyed my work in the past, &/or you like what you see here, maybe you'd like to subscribe:
Originally posted on Rhizome.org Raw by Michael Szpakowski
If you will be in the NYC area on the evening of February 6th, please come out for Net Aesthetics 2.0 -- a panel that will consider current expressions of Internet art in light of larger technological and social shifts. Artists Wolfgang Staehle, Cory Arcangel, Michael Bell-Smith and Marisa Olson will be in conversation with curators Michael Connor and Caitlin Jones. The panel is co-presented by Electronic Arts Intermix, and will be moderated by yours truly.
This event is open to Members and non-members.
The full release, as well as event details, can be found here:
It would be nice to meet active, NYC-based participants face to face if you can make it.
Originally posted on Rhizome.org Raw by Lauren Cornell
New York-based sound artist Stephen Vitiello once rented a studio on the 91st floor of the World Trade Center. For his project World Trade Center Recordings: Winds After Hurricane Floyd, he taped contact mics to the studio windows, "picking up the sounds outside of passing planes, helicopters, storm clouds and traffic, the building itself swaying in the wind."
You can listen to a short NPR piece about the project (and find other sounds here); and Vitiello was recently interviewed in Artkrush, if you want a bit more information. [....]
I read once about seismic recordings taken by Columbia University during the World Trade Center attacks of September 11th - the bedrock of Manhattan was rumbling as the two towers collapsed, and this showed up on Columbia's seismometers. These recordings were then transformed into audio files, and you could listen to the wounded, melancholic howl of Manhattan as its two tallest buildings fell to the ground. (A vaguely related story, of course, is William Basinski).
(For more on urban soundscapes see Orchestra of Bridges, London Instrument, Sound Dunes, and - an old favorite - musicalized weather events).
This was an amazing sound piece, before 9/11, but now it's taken on this extra ghostly quality. Both before and after, I think it was one of the few audio recordings that I ever felt successfully captured a sense of what it was like to be somewhere. It was sort of awe-inspiring in the beginning--the mystery of hearing these sounds and being humbled by your sudden smallness. After 9/11, they inspire a sense of imaginary identification with the people who might have heard the same thing once, and with the space that was stirred on 9/11, despite the fact that the contact mics 'hear' quite differently than we do. Yet, it's still an opportunity for a point of 'contact.' ~marisa
PS I do actually believe that Stephen didn't rent the studio but was in there on a Lower Manhattan Cultural Council/Thundergulch residency..? If so, this would be the same residency held by Michael Richards when he passed away on 9/11...
Originally posted on BLDGBLOG by Rhizome
> Invitation to Participate
http://www.perpetualartmachine.com 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.
Originally posted on Rhizome.org Raw by LEE WELLS
HTTP [House of Technologically Termed Praxis] presents Open Vice/Virtue: The Online Art Context by Andy Deck.
‘Open Vice/Virtue: The Online Art Context’ is an exhibition and public production space featuring real-time, online collaboration and
interventions in public and private spaces by software artist Andy Deck. HTTP Gallery is pleased to present this solo show by American artist Andy Deck, as part of NODE.London season of media arts. For this, his first exhibition in London UK, Deck uses the Internet, the gallery and public space to challenge corporate control over communication, tools and software, and by extension the social imagination.
'The giantism of media corporations and the ongoing deregulation of media consolidation (Ahrens), underscore the critical need for independent media sources. If it were just a matter of which cola to drink, it would not be of much concern, but media corporations control content. In this hyper-mediated age, content -- whether produced by artists or journalists -- crucially affects what people think about and how they understand the world. Content is not impervious to the software, protocols, and chicanery that surround its delivery. It is about time that people interested in independent voices stop believing that laissez faire capitalism is building a better media infrastructure.' Andy Deck
Glyphiti is an online collaborative drawing project resented uniquely at HTTP. A large-scale projection forms an evolving graffiti wall and visitors to the space are invited to edit and add graphical units or 'glyphs', which compose the image, in real time. The marks made by each person, combine with others and are shown as a time-lapse image stream. Hanging fabrics being shown here for the first time provide a tactile document of recent years’ of Glyphiti. Unlike most image software available on the Internet, Glyphiti functions through most corporate firewalls by ...
Originally posted on Rhizome.org Raw by marc garrett
Artificial continues its special on Art Games:
Here are two more articles:
Keeping Watch on the Cultural Frontier - Interview with Steve Wilson Torben Olander talked to San Francisco based artist Steve Wilson, who combines art, science and games.
Read the interview here: http://www.artificial.dk/articles/wilson.htm
From an Artist's Perspective Artist Mathias Fuchs gives his perspective on Art Games. In his terminology, Game Art is the right word to use.
First 'Video killed the Radio Star', then the interactive media made video look blunt, and now computer games seem to be more sexy than any other media ever has been ...
Read the full article here: http://www.artificial.dk/articles/fromanartist.htm
Read all the articles in Artificial's Special on Art Games: http://www.artificial.dk/articles/artgamesspecial.htm
-- Kristine Ploug Co-editor artificial.dk
Originally posted on Rhizome.org Raw by Kristine Ploug
On top of hosting the majority of my Six Rules Compliant artwork, salsabomb.com also the site of a new blog I've created to track new media and new work, with a focus on truly participatory media and to serve as a watchdog for it's pitfalls. Come say hi and let me know if you're missing from the blogroll.
Originally posted on Rhizome.org Raw by Eryk Salvaggio