Memorious

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memorius

Paul Murnaghan is offering to sell part of his memory capacity. This is in order to create a monument* to the recollections of any interested party. Individuals that wish to preserve the memory of some moment, person or obsession should get in contact with Murnaghan at one of the contacts below. A meeting will be arranged where the memorious content will be communicated and stored in the artist’s brain. Due to the fallibility of the human memory and its continual exposure to contaminating influences, the substance of the monument may corrupt over time. The possibility of pollution by other experiences is seen as an inevitable part of this process. No test of recall or future examination will be entered into.
A text version of the memory will be wax sealed inside of a certificate of authentication. The sole copy will be offered to the purchaser as a precise record of the content of the described recollection. The monumentalizing of this content does not bear witness to its validity or act as ‘evidence of truth’ within the inherent material.

E: mail -AT- memorious.info T: 00353 1 4542254
*Monument fee is determined by purchaser.
Offer is valid 14 - 28 January 2006 only.

Posted to

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Originally posted on Stunned by Rhizome


Prix Ars Electronica 2006

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International Competition for Cyberarts

The Prix Ars Electronica - International Competition for Cyberarts is being conducted for the 19th time in 2006. In addition to the classic categories-Interactive Art, Net Vision, Computer Animation / Visual Effects and Digital Musics-Digital Communities and [the next idea] Art and Technology Grant competition that debuted last year will be reprised.

Online Submission Deadline: March 17, 2006; Total Prize Money: 117,500 Euro; 6 Golden Nicas; 12 Awards of Distinction; Up to 12 Honorary Mentions in each category.

INTERACTIVE ART: The "Interactive Art" category is dedicated to interactive works in all forms and formats, from installations to performances. Here, particular consideration is given to the realization of a powerful artistic concept through the especially appropriate use of technologies, the innovativeness of the interaction design, and the work's inherent potential to expand the human radius of action.

COMPUTER ANIMATION/VISUAL EFFECTS

The "Computer Animation / Visual Effects" category has been part of the Prix Ars Electronica since its very inception. It recognizes excellence in independent work in the arts and sciences as well as in high-end commercial productions in the film, advertising and entertainment industries. In this category, artistic originality counts just as much as masterful technical achievement.

DIGITAL MUSICS

Contemporary digital sound productions from the broad spectrum of "electronica" come in for consideration in the "Digital Musics" category, as do works combining sound and media, computer compositions ranging from electro-acoustic to experimental music, or sound installations. This category's programmatic agenda is to expand horizons beyond the confines of individual genres and artistic currents.

NET VISION

The "Net Vision" category singles out for recognition artistic projects in the Internet that display brilliance in how they have been engineered, designed and-especially-conceived, works that are outstanding with respect to innovation, interface design and the originality of their content. The ...

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Originally posted on networked_performance by jo


draw-something

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Zev Robinson:

just to be clear, no I'm not downplaying a programmers part in creating
anything, and, also I'm not outsourcing the programming. Adrian Marshall and
I collaborate on our projects with a lot of testing things out, back and
forth on ideas, how it is working, etc.

I know people who outsource their paintings, let assistants make all sorts
of decisions including what colors to use, and then claim it as their own,
and sell it for a lot of money. Movies and medival cathedrals are huge
collaborative efforts, with various people contributing their various areas
of expertise. Some photographers insist on doing their own
developing/darkroom work, others are happy to let others do it for them.

It's a question of choices and priorities. So how you, Dirk, Pall, or anyone
else, are, what you do, or create, is up to you, but doesn't mean that it
should apply to anyone else. I may find something interesting or not, I
might like something or not, but it's the variety of approaches that is
interesting.

I've also had repeated experiences with works of art over the years, mainly
paintings that I go back to look at, but also music, literature, films. Each
time my perception of them is different, so in that sense there is no
repetition.

I'm also not sure if true randomness exists or not, or if it's all
fate/destiny, or a combination of the two. But much, much better pseudo
randomness than pseudo certainty.

Zev

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Originally posted on Rhizome.org Raw by Zev Robinson


Singing bridges

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“Singing bridges

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Originally posted on Interactive Architecture dot Org by Rhizome


arabiia

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Re-dressing Religion

Across societies and countries, dress has always played a pivotal role in cultural and political expression. Attire, especially when it comes to women's attire, figures in many parts of the world as a means of representing and expressing oneself (undressing religion, Linda Arthur).

Arabiia--by Ayah Bdeir--is a convertible outfit that looks at two opposing images of the Arab woman: the sexualized belly dancer and the veiled opressed woman. The costume is equipped with two servo motors and a switch. It enables the woman to flip modes between two extreme stereotypical representations typically attributed to arab women.

Ayah Bdeir is a second year masters student in the MIT Media Lab. She is a member of the Computing Culture Group, which creates unique technologies for cultural, political and media applications. She recently graduated from the American University of Beirut (AUB) with a Bachelor of Engineering in Computer and Communications Engineering and a minor in sociology.

Ayah's research in the Computing Culture Group looks at the role technologys plays in cross cultural communication; being both a vehicle for the representation of identities and a tool to create engaging dialogue amongst cultures.

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Originally posted on networked_performance by jo


Yunsil.com

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Keeping on my trend of posting about cool sites by bright young women, here's Yunsil.com. There is a pile of great projects in here, including some really nice explorations into tangible computing.

Of particular interest is the techniue used in Tadpole and DrawDisk, in which the computer's printer cable is rigged to control first a set of LED lights, then a small robot used to draw physical compositions. Great idea.

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Some of her work is pretty fun/funny! I love the MTV station ID proposals...

Originally posted on Processing Blogs by Rhizome


Inspiration Superhighway

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Jacob Ciocci at Foxy Production...

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From the site: "Inspiration Superhighway, Jacob Ciocci’s first solo exhibition, inaugurates Foxy Production’s new storefront gallery space in West Chelsea. A member of artist collective Paper Rad, Ciocci has assembled richly textured works that reflect upon the media’s ever more sensually and psychically intimate connections with young people. Drawing upon his experience of growing up in the information saturated 1980s and 1990s, Ciocci presents narratives that are in essence existential quests, where characters seek meaning from cultural chaos. Inspiration Superhighway comprises a large cube installation containing a six-channel video and sculptural environment, three smaller video cubes, paintings with video elements, and drawings."

Congrats to Jacob & to Foxy, on the new space! ~mo

Originally posted on del.icio.us/lauren_cornell by lauren_cornell


Jacobsen Interview Up

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The interview / article I did for GIZMODO on Danish artist, Mogens Jacobsen is now online. Read up! (Above is a pic of his project: “SKIP

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Originally posted on coin-operated by Rhizome