PG Cert Project Exhibition - 18th - 20th January 2006

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Yes it's that time of year again, where the Ma Students show off to the world the work they have completed for their PG Cert. It looks like its going to be a legendary private view on Wednesday evening, with dj's, food & wine provided...

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Originally posted on MAzine - Exploring the potential of networked media by Rhizome


Federal Judge Gives Go-ahead in Kurtz CAE Case

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Motion to Dismiss Charges Called "Premature" Dan Herbeck, Buffalo News

A criminal case that has upset many people in the art world will continue to move forward in federal court here.

In an opinion issued late Thursday, U.S. Magistrate Judge H. Kenneth Schroeder Jr. refused to recommend dismissal of charges against Steven J. Kurtz, a University at Buffalo art professor who was indicted by a federal grand jury in June 2004.

Kurtz, 47, is a founding member of the Critical Arts Ensemble, a group whose art exhibits often criticize the the federal government. His indictment touched off debate about artistic freedom and the government's efforts to tightly control the distribution of bacterial agents in the post-9/11 era.

It would be "premature" to dismiss the charges, Schroeder wrote. The judge also refused to recommend the suppression of evidence taken from Kurtz's Allentown home after his wife died there in May 2004.

"Even if it assumed . . . that the government will fall short in the required proof, a motion to dismiss the indictment must be considered as being premature and inappropriate in addressing that issue," Schroeder wrote.

The judge said he will schedule a hearing to determine whether some statements Kurtz made to Buffalo police should be suppressed.

Kurtz and Robert E. Ferrell, a human genetics researcher at the University of Pittsburgh, are charged with illegally obtaining bacterial agents from a laboratory in Virginia. They are charged with felony mail fraud and wire fraud.

Kurtz's attorney, Paul J. Cambria Jr., had argued that no actual crime was committed. He said Kurtz obtained "harmless" forms of bacteria that he planned to use "in an art exhibit, to make a political point."

"We plan to appeal this ruling," Cambria said Thursday. "Judge Schroeder didn't say we were wrong. He ...

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Originally posted on Interactivist Info Exchange by Autonomedia


Generator.x in Stavanger #2

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Generator.x:  Introduction

Generator.x: Introduction

Wattenberg: Shape of Song

Wattenberg: Shape of Song

17;ve just come back from the opening of the second installation of the Generator.x show in Stavanger, an opening which must be considered a success on all counts. Not only did it get a good reception from the local audience, but the show itself looks great in the slightly raw and intimate halls of Tou Scene. But don’t take my word for it, look at the images above and below, as well as the full set of photos on Flickr.

For the opening, I gave a short introduction to generative art and design, which was followed by Trond Lossius speaking about his work with sound. He talked about generative sound being sound as a Platonic idea, with the specific incarnations being shadows of a meta-sound which is never really heard.

The exhibition was followed by a live concert with local electronica heroes QRT, HOH and NES. Gisle Frøysland did live visuals using the open source MøB software he has developed at BEK. I showed my own piece Neon Organic in a newly revamped OpenGL realtime version.

The exhibition will remain in Stavanger for a minimum 3 weeks, see the Tou Scene web site for details. I would like to thank local organizers at Tou, Nils Henrik Asheim and Alain Fassotte, for their support and quick turnaround in organizing an excellent opening event. Thanks also to Espen Tversland, the museum host for the National Museum who will follow the exhibition around Norway.

More photos to follow, including videos of the projected pieces and the concert.

C.E.B. Reas: Process 8

C.E.B. Reas: Process 8

QRT live with Frøysland on visuals

QRT live with Frøysland on visuals

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at interval, 1977 / 2006

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Spent most of the weekend working on a new video piece for the t-minus 2006 festival, an exhibition and DVD produced by Joshua Goldberg and Chris Jordan, New York City. It’s likely to be the first in a small series of "lapses," which play with time and language, by compressing popular films into a different space of relation:

< video still from at interval
video still from at interval< />

For at interval, I captured the entirety of Woody Allen’s Annie Hall, then removed all spoken dialogue from the film. Time is slowed down, through emphasis on breathing, silence, mistakes, facial expressions and music between the text, and paradoxically sped up, through an immense shortening of the film - from one hour and thirty minutes, to just over thirteen. at interval compresses the movie by removing Allen’s characters’ lapses in judgment, and instead plays with time to accent similar impossibilities within language.

play movie
quicktime and javascript required; 11.7MB pop-up window, 13:22

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Originally posted on nathaniel and the non-aggressive by Rhizome


Google Earth... back in the '90s

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In 1994, ART+COM presented Terravision, an installation that enabled users to navigate in a 3D model of the earth by moving a tracking device in front of the projection showing the actual location and environment s/he is in.

bildterrav.jpg med_03_terrav.jpg
Image on the right: Visualization of danger-zones for earthquakes

The virtual globe is generated from satellite images and altitude data stored on servers located around the world, integrated into a television system by an ATM broadband network. Information can be accessed topographically and chronologically: a user can see weather patterns or zoom in on, say, the Potzdammer Platz in Berlin and use a camera icon (placed at the actual location of the original camera) to view a film of it made in 1929.

Terravision was conceived as a tool to generate knowledge about the condition and future development of our planet.

The display and the resolution were only limited by the quality of the satellite aerial images of the corresponding location.

John has just sent out via bittorrent the original video from 1995.

More images and videos on art+com website and on Media Art Net.

Other works by art+com: the Science of Aliens, timetravel telescope, Floating Numbers table.

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Originally posted on we make money not art by Rhizome


Chicken Soup for the Viewer

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In the last decade, a series of books of the 'Chicken Soup for the Soul' ilk have dominated the self-help market, a sphere with a rhetoric that all too rarely finds itself quoted in the art world. Enter Jacob Ciocci, the Pittsburgh-based artist best known as one-third of the Paper Rad collective. His installation at New York's newly-supersized Foxy Production gallery welcomes visitors with the phrase 'How to Beat Loneliness,' and the show is positioned as Level Zero in the video game of life. 'Inspiration Superhighway,' open through February 4th, is Ciocci's first solo show and it features multi-channel video installations, sculptures, and drawings whose characters 'seek meaning from cultural chaos.' Like his collaborative work, the new projects evoke the sensory overload that results from coming of age in a media saturated culture. Taking on the trope of a little boy's bedroom, the show erects shrines to the Saturday morning deities and Top 40 superstars that populate our transmitted landscape. On the one hand, visitors can identify with a feeling of entrapped isolation. Then again, entering a space created by Ciocci always feels like climbing through a magic rabbit hole into a world illuminated by animated gifs, beautiful colors, and complexly compelling softness. Taking in the artist's remix of 'Don't Worry, Be Happy,' it would be an understatement to say that his work feels good. - Marisa Olson

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Index for X: An Experiment in Mass Collaboration

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I was lucky enough to be asked to build a piece for the Winter issue of Born Magazine. The poem, Index for X and the Origin of Fires is a truly beautiful work by Ander Monson.

What I wanted to avoid in this project was forcing the reader into one particular interpretation of the poem. I think the beauty of verse lies in its ability to speak in different ways to different readers.

With that in mind, I built a semi-intelligent engine for this project that interprets the poem by accessing the massive database of images that is Flickr. Images are gathered for each line of the poem, and are displayed semi-randomly, appearing just long enough to register and then fading again into the background. As the viewer progresses through the poem, a collage of images is present in their memory - enough, along with the poem itself to build a unique interpretation of the work.

This 'collective interpretation' changes in two ways: First, because Flickr is constantly being updated and because the engine is stochastic, you will never see the same set of images twice. Second, because Flickr users can tag images with the word 'indexx' to have them appear more often in the project, the generated compositions will (hopefully) become more focused over time.

So, go and check it out.

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Originally posted on Processing Blogs by Rhizome


Chicken Soup for the Viewer

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In the last decade, a series of books of the 'Chicken Soup for the Soul' ilk have dominated the self-help market, a sphere with a rhetoric that all too rarely finds itself quoted in the art world. Enter Jacob Ciocci, the Pittsburgh-based artist best known as one-third of the Paper Rad collective. His installation at New York's newly-supersized Foxy Production gallery welcomes visitors with the phrase 'How to Beat Loneliness,' and the show is positioned as Level Zero in the video game of life. 'Inspiration Superhighway,' open through February 4th, is Ciocci's first solo show and it features multi-channel video installations, sculptures, and drawings whose characters 'seek meaning from cultural chaos.' Like his collaborative work, the new projects evoke the sensory overload that results from coming of age in a media saturated culture. Taking on the trope of a little boy's bedroom, the show erects shrines to the Saturday morning deities and Top 40 superstars that populate our transmitted landscape. On the one hand, visitors can identify with a feeling of entrapped isolation. Then again, entering a space created by Ciocci always feels like climbing through a magic rabbit hole into a world illuminated by animated gifs, beautiful colors, and complexly compelling softness. Taking in the artist's remix of 'Don't Worry, Be Happy,' it would be an understatement to say that his work feels good. - Marisa Olson

http://www.foxyproduction.com/exhibition/view/312

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Originally posted on Rhizome News by Rhizome