More than a curated series of links, 'Abe & Mo Sing the Blogs' is part reblog and part... drinking game, maybe? Net artists Marisa Olson and Abe Linkoln's new project, now featured on the Whitney Museum's Artport, is presented as a concept 'album.' For each re-posted blog entry artfully culled from the weirdest smart/dumb stuff on the Internet, either Olson or Linkoln has recorded an mp3 track lyrically tied to the post's content. While Linkoln's hallmark post-punk aesthetic and messy karaoke appropriations aren't quite as freaky as Olson's sultry a cappella interpretations, including the remarkable song, 'I F*cking Hate Horses,' their respective net personae, pop obsessions and remix-compulsions mesh well to frame this digest of online ready-mades with their own 'performative ephemera.' Abe & Mo's exploitation of the blog format as both archival medium and performance venue is an ongoing theme, evident in both their previous collaboration, 'Universal Acid,' as well as their varied individual works, indexed in the album 'liner notes.' - Johanna Fateman
a cool treemap-like HTML visualization that is capable of representing the keywords present within multiple 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!]
Originally posted on information aesthetics by infosthetics
David Casacuberta and Marco Bellonzi of the Santo File art group have been awarded the first prize, in the net.art category, of Ingenio 400, a competition that celebrates the 400th anniversary of the first edition of Don Quijote.
X Reloaded proposes new readings of fragments of the Spanish masterpiece, reinterprated by the aesthetics of various artists.
The project, still open to works of internautes, proposes 12 reappropriations of the text including: a montage by Barbara Kruger; a map by Jodi; Olia Lialina's Don Quixote came back from the library. After so much reading he was out of his mind; for glitXote glitch artist Tony Scott submitted one of Gustave Doré's engravings to digital degeneration; Rosa Llops, from the OVNI collective (Observatorio de Vídeo no Identificado), portrayed don Alonso Quijano à la El Lissitzky; Adbuster designed a Mastercard , there's also a very experimental recipe by mister El Bulli himself Ferran Adrià.
Via El Pais.
Originally posted on we make money not art by Rhizome
The Wearable Instrument Series, by Marisa Jahn and Steve Shada, turn their wearers into breathing musical instruments. The flesh colored accessories resemble prosthetic devices, suggesting that human relationships can be regarded as corporal, affective, and psychic apendages...
Exhausted are two vests sewn with an accordion-like instrument between. As the two participants embrace and pull away their movements generate sound. The bellows of the "accordion", when extended to their maximal capacity, reveal the word exhaust. In other words, the air fills the bellows when the individuals, frustrated ("exhausted") by each other, pull apart. This air is expelled/exhausted as the indivduals embrace, paradoxically suggesting that through embrasure the frustration is dispelled or exhuasted.
Each Hug n' Harp vest features a stringed instrument component at the back. The participants can only play their partner's instruments. Additionally, with the instrument's orifice positioned in a location accessible to others, the wearer finds him/herself in a vulnerable position wherein anyone can access the vest and play his or her strings...
The title suggests the dual dynamic within co-dependency: to hug (embrace/nurture) and to harp (to nag, to pick at).
None of the suits will function properly if one wears them alone. Participants must put themselves in compromising poses with others, while working together to create music.
Congrats to Marisa who, for trivia lovers, was one of my two best friends in college, named Marisa/Marissa, and was my roommate for a week in 1999! Her work, including her writing and curating (she & Steve Shada founded Pond) is excellent. ~marisa
Originally posted on we make money not art by Rhizome
Greyworld are a group of london based artists who have produced a number of beautiful and subtle pieces of interactive architecture. Above is their piece The Source, installed in the main atrium of the new London Stock Exchange in July 2004. A cube of 9×9x9 (729 in total) spherical balls are suspended on strings that stretch 32 metres up to the top of the main atrium of the newly designed building. These balls, controlled by a computer running Python scripts, can reposition themselves independently of each other, forming dynamic shapes and fluid-like motions that reflects the nature of the stock market itself. Each morning, upon the opening of the London Stock Exchange, the balls awake from their cube arrangement and begin to form patterns. Similarly, at the end of each day’s trading, the balls fall back into their cube arrangement, and an animated arrow is shown using the blue LEDs inside the balls to show how the stock market performed on that particular day.
Check out Chris O’Sheas interview with Andrew Shoben of Greyworld.
Originally posted on Interactive Architecture dot Org by Rhizome
A multimedia installation by Randall Packer
In collaboration with John Anderson
Presented by the US Department of Art & Technology
On view at the American University Museum
Katzen Arts Center, Washington, DC
AU Art faculty show: From the Studio
January 18 - March 12
Artists Reception: Saturday, January 21, 5 - 8 pm
May she rest in peace...
Originally posted on Rhizome.org Raw by Randall Packer
The Manifesta 6 School is the central project of Manifesta 6, the European Biennial of Contemporary Art, which will take place in Nicosia from 23 September to 17 December 2006. The School is both the site and the content of the Biennial, and is its sole activity. Conceived and developed by the curators of Manifesta 6, Mai Abu ElDahab, Anton Vidokle and Florian Waldvogel, the School will offer three thematic transdisciplinary departments comprising lecture series, publications, screenings, performances, exhibitions, radio and TV programmes, workshops and other activities.[More....]
Originally posted on Rhizome.org Raw by neme.org
Prix Ars Electronica 2006
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.
Prix Ars Electronica 2006
Start of Online Submissions: January 10, 2006
Online Submission Deadline: March 17, 2006
Details about entering are available online only at http://prixars.aec.at
Total Prize Money: 117,500 Euro
6 Golden Nicas
12 Awards of Distinction
Up to 12 Honorary Mentions in each category
For further information please contact Iris Mayr: email@example.com
COMPUTERANIMATION / 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.
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.
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.
The "Net ...
Originally posted on Rhizome.org Raw by iris mayr