Biomediale

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Contemporary Society and Genomic Culture

In order to find its autonomy, Bio Art (a term described by Jens Hauser, curator of the "L'Art Biotech" exhibition, as an "etymological disgrace") is passing through the necessary evolutionary phases towards a complete definition, conquering a conceptual autonomy independent from the means used. The image that comes to mind is that of a 'chimera', a hybrid creature that is a mix of different species, which expresses a peculiar compositive coherence, both paradoxical and efficient. The facets implied by dirtying one's own hands with the basic elements of organic material (genes, cells, proteins, etc.) are many, as is analyzing the female body as a contemporary technological laboratory (in the performances by the subROSA collective), conceptually challenging the current eugenic development models, or the application of the usual schemes of knowledge hoarding, as is done by Eugene Thacker with his Open Source DNA.

The ferment created by the Critical Art Ensemble and Eduardo Kac can now be recognized by filtering the media flow of relevant announce(ments) by the industry, made here by Ricardo Dominguez, or reconstructed through the reflections on clones and their mediatic reproductions by Birgit Richard. This way, it's possible to feel the pulse of the silent conflict surrounding these subjects. In times when human intervention on organic creatures is as big as what nature does in decades, and building life is a fact, the definition of shared critical positions becomes the social fulcrum the cultural development of these technologies revolves around. (edited and curated by) Dmitry Bulatov, The National Publishing House "Yantarny Skaz"
ISBN 5740608537 [via NEURAL]

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Originally posted on networked_performance by jo


poietic feed aggregator

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a cool treemap-like HTML visualization that is capable of representing the keywords present within several RSS feeds, for instance those from various Internet sites (e.g. wikis, blogs, news websites, search engines). the map represents multiple feeds as smaller rectangles, that in turn contain the individual entries. the different colors (or 'imagettes') are associated to various user-chosen keywords discovered within the text entries. the last modified entry is positioned in top on the left, the oldest in bottom on the right. source code is available. [km2.net|thnkx Olivier!]

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Originally posted on information aesthetics by infosthetics


Car Games

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For his solo show in NYC, Brody Condon created a “full size 85′ lamborghini countach (pictured) from cast plastic branches. the original wireframe model came from the game need for speed.

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Originally posted on coin-operated by Rhizome


Can You Feel Me Now?

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Mobile communication technologies like cell phones and wireless broadband internet access hold out the promise of an always 'on' society. Coupled with the accessibility of information archives and instant data retrieval, these technologies are realizing the dream, or nightmare, of ubiquitous computing. Yet, with all this newly available information, are we really forming more meaningful connections with the world around us? Paris-based net artist Christophe Bruno's improbable WIFI-SM project responds to such a question with a darkly rhetorical humor. Through the application of a small wifi-enabled device to the skin, like an internet nicotine patch, users will be delivered an electric shock whenever a real-time scan of news sources reveals specific keywords related to violence, such as 'war' or 'death.' WIFI-SM is exhibited in a new solo show of Bruno's work, which opened 10 January at Galerie Sollertis in Toulouse, France. Along with other internet-based works by the artist, the opening featured a live performance of 'Human Browser,' a physically embodied and culturally contextualized text-to-speech translation of Google searches. If you want not only to know the pain of others but to also feel it, you should check it out. - Ryan Griffis

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Wargame

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Wargame is a piece that Leif Rumbke has concieved as an installation at KHM in Cologne. It refers to the 1993 game Cannon Fodder by Sensible Software. The game was highly sarcastic (although I hardly remember anyone noticing) in the way that you were in control of a crosshair, randomly cutting down soldiers that entered your view on the screen.

Wargame takes on the same aesthetics, keeps the "very high grade of graphic violence" and lets two armies collide on screen. In contrast to the original, it uses generative algorithms and sophisticated particle systems for the "fountains of blood", but this time the bloodshed develops autonomously. The only way to intervene is through "snappily reduced means of interaction" represented by a big red bumper that will after a countdown (complete with before-death snapshots of some soldiers) eradicate the whole screen so the battle can start over again.

Rumbke sees his work as a critical commentary on both classic and contemporary war-simulations and other war-related media. The contradictions that arise to gamers are especially interesting since even obviously condemnable games often still provide highly enjoyable entertainment. Don't miss the hillarious video at the bottom of the page!

Recommended by //////////fur////

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Originally posted on we make money not art by Rhizome


Candy Factory at Printed Matter, NYC

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Printed Matter Inc. is pleased to present a screening of internet projects from Japanese artist collective candy factory this Saturday, January 14 from 5 to 7 PM. The screening will feature candy factory's most recent release,  Tokyo Rose Advertising along with other work from the past few years. Join us to meet *candy factory's Takuji Kogo, who will be present to answer questions. Printed Matter is located at 195 Tenth Avenue at 22nd Street.

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Originally posted on post.thing.net - A lean, mean, media machine. by Rhizome


5 til 12 Opening

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5 'til 12

A very special congratulations to Glowlab’s own Brian House and his collaborators for their new nonlinear narrative installation at the Beall Center for Art and Technology in Irvine, CA.

2006 January 18 - March 15
Opening reception January 17, 6-9 pm

The Beall Center becomes the site of a nonlinear narrative with Knifeandfork’s immersive installation, 5 ’til 12. The visitor is invited to watch four characters, on four monitors, as they recount the tragic circumstances of the exhibition’s opening night. The experiene is unique for each visitor.

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More from the site: "The visitor is invited to watch four characters, on four monitors, as they recount the tragic circumstances of the exhibition's opening night. The experience is unique for each visitor, as each story has most likely never been heard before... and won't ever be heard again. The premise is derived from Akira Kurosawa's film Rashomon, in which four eyewitness accounts of a murder are presented to the viewer, who serves the role of a magistrate...."

Originally posted on Glowlab by Rhizome


Onoxo - vvvvery organic

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Onoxo: Clean exp

Onoxo: Clean exp

Onoxo: Organic

Onoxo: Pipet filters

Onoxo is the project name of Zagreb-based VJ and motion designer Vedran Kolac. Working in VVVV, he creates forms that tend towards the architectural while retaining an organic quality. His work is proof positive of the potential of VVVV for creating generative live visuals. Be sure to take a look at the movie version of Clean Exp.

Kolac is also a part of the Strukt Visual Network, a collective operating out of Austria which puts out a magazine for graphic design and live visuals. Strukt has also become a gathering point for various projects, such as the Redestrukt Visual Crew and other spinoffs. In a VJ scene that has yet to find a coherent voice, Strukt stands out as a group that communicates both loudly and clearly.

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