Sometimes making conceptual art is like wanting to throw yourself off the nearest tall building, and inevitably someone somewhere always says "Don't Do it!!!!" And now, Curt Cloninger and the This Concept Project wants to explore that paradigm further by suggesting that would-be conceptual artists flood lists like Rhizome Raw with detailed instructions for works they will never realize. My set of instructions goes as follows: Spend every waking moment on the internet seeking out net art in its various strains and digesting as much related contextualisation as possible; sign up to every listserv that relates to net art, internet culture and indeed offline art forms; add yourself to the mailing list of every Net artist, collective and organization. Once your inbox and indeed your brain are brimming full of net art news, in its many forms, contact Rhizome and suggest yourself as a Net Art News writer, interviewer or reporter and begin to write sterling bulletins and critiques of the world of Net art as you know it. . . . So what are you waiting for? Just think it! - Charlotte Frost
Report from SIGGRAPH 2005
Los Angeles, CA
July 31-Aug 4, 2005
by Jonah Brucker-Cohen (jonah_at_coin-operated.com)
In the heat of the LA summer, SIGGRAPH 2005 opened its doors to
50,000+ computer graphics technologists, animators, musicians,
artists, geeks, curators, and digital media professionals. This
year's Art gallery and emerging tech sections featured hundreds of
projects that aimed to showcase the "future" of computer graphics and
interaction. Since I was active in this year's conference, I didn't
get a chance to visit every presentation or try every demo, but here
is a report from the projects and talks that I saw.
Click thru to read full article.
Originally posted on Rhizome.org Raw by Jonah Brucker-Cohen
Digital art duo MTAA link to a Donald Kuspit article that makes some over the top claims for digital work. I haven't studied the essay in depth but agree with about half the premise ("digital art is the new art; code is the new subject") and practically none of the examples. Now MTAA is duking it out in their comments with an anonymous meanie who makes the obvious argument that art has to have that undefinable something regardless of the medium and then backs it up with ad hominem attacks on MTAA's twhid. Guys, don't give that fellow too much of your brain power. (Like I follow that advice with rude anonymous commenters.) More on the Kuspit soon--it's surprising he wrote this because he's usually the spokesman for the Healing Power of Art and fecund interiority over bloodless conceptualism. Possibly he's in full contrarian mode but then his principles are never rock-solid.
Update: The Kuspit piece is disappointing. He bases his link between early Modernist painting and the computer on squishy metaphors of pixeled space that leap across several decades and don't take into account photographic grain, TV rasterizing and other developments that came between Seurat and the first computer art in the 60s. "Code" is also used in a broad metaphorical sense so it could mean almost any systematic approach to art. The only current digital work he discusses in depth is Michael Somoroff's video Query (2004), which is more of that damn art about art, riffing on Duchamp's and Richter's famous nudes descending staircases by subjecting them to the inevitable high-tech imaging analysis. Ugh.
Originally posted on Tom Moody by tom moody
... Remix and reappropriate the videos at http://gnn.tv/videos/ in a way that truly makes them disruptive. Shake them loose from their didacticism, their preachiness, their morality, their context, their sense, until they are turned in on themselves and glimpses of the spectacle are revealed. In other words, detourn them. Put your remixes on the web at a site called "The Godzilla News Network." Use reamweaver ( http://www.reamweaver.com )to appropriate the design of the GNN site and recontextualize it as you have the videos. Titling is crucial.
1. Remix in footage from "Gorrilaz" videos ( http://www.gorillaz.com ) , because, you know, gorilla - guerilla.
2. Remix in footage of "King Kong vs. Godzilla," because Godzilla rhymes with guerilla and gorilla, and King Kong is an ape. Also, the monsters will be crushing the whole city, tearing it up. Focus more on the collateral damage than on either King Kong or Godzilla. It's not about the liberals vs. the conservatives, it's not about the democrats/republicans vs. Noam Chomsky, it's not even about your new Godzilla News Network vs. their old Guerilla News Network. It's about the ashes from whence a phoenix may rise and begin its spiralling slouch toward Bethlehem.
3. Move in the opposite spirit. To detourn a "hi-impact brand," you need a slow impact pace. Leave in 5-minute-long periods of silence and blankness (a la Debord's "Hurlements en faveur de Sade"). Eschew hip-hop. Incorporate doo-wop. I'm partial to the Platter's "Only You," but "Earth Angel" is perfectly acceptable.
4. Don't fall into the easy dis Bush trap. Draw your horns on the head of Warhol soup cans; paint your pitchfork into the hands of Ozzie Nelson. Bush is the quintessential iconic bogey, luring millions of potentially disruptive ...
Originally posted on Rhizome.org Raw by curt cloninger
This first edition of the Festival has chosen the “Imaginaries in transit: poetics and technology
Originally posted on Rhizome.org Raw by Lilia Perez Romero
Project: The Bear Deluxe Magazine has reserved space in its next issue(fall 2005) for readers’ responses to global warming effects on themselves and the planet. Short prose, poems, info graphics, cartoons and illustrations will be accepted. Ideas are not limited in scope, degree or geographical representation.
Originally posted on Rhizome.org Raw by ryan griffis
The League seeks proposals from architects, artists, curators, academics, and others for lecture series, conferences, exhibitions, web sites and other projects that consider how architecture is intersecting, or could, with innovative work in other creative and scientific disciplines; and at how architecture is responding to forces shaping contemporary life, such as globalization, urbanization, environmental decline, and the pervasiveness of information technologies.
Originally posted on Rhizome.org Raw by Rhizome
Gorbet+Banerjee, a multi-disciplinary artist team working at the leading edge of technology, architecture, engineering, product design, and media arts, was selected as the Arts Activation Team to identify sites and design appropriate infrastructure (platforms) to accommodate the Airport Public Art Program. The initial phase of their design process is to meet with the regional arts community in a series of meetings to inform the design of a number of flexible artwork. Input from a wide array of artists working in both traditional and technologically influenced media is welcome.
Originally posted on Rhizome.org Raw by Brooke
The Conference will take place on 8th, 9th and 10th August 2005, at the University of Abertay Dundee, Scotland, UK. A full pass, including lunch each day and the Conference dinner, costs just Â£150. Students and the unwaged may apply for a one-day pass for Wednesday 10 August, at a special price of just Â£30 (Â£25 for group bookings).
Originally posted on Rhizome.org Raw by I Paterson
<p><img alt="RaisingFlagComplete.jpg" src="http://unmediated.org/images/20050808_RaisingFlag.jpg" width="174" height="220" border="0" align="right"/></p>
I love culture jamming. I've even done my fair share of it. But I've never believed that it, or protests (the original and non-subtle, non-ironic culture jamming), are effective for solving problems.
Of course, this begs the question of what "solving problems" means. Culture jamming must be good for something other than making activists feel all clever and hip for their satires on the dominant paradigm, right? I'd say there are multiple things it's useful for.
Culture jamming is useful to the extent that it catalyzes outreach and solidarity. These are necessary (though not sufficient) ingredients for a successful movement.
It can help outreach by functioning as normal advertising does, influencing viewers to change their ideas and behaviors, or reinforce the attitudes of those who already agree. (As a result, it can even be somewhat useful for making change directly for issues the public has scant awareness of.) Advertising is a numbers game, where repetition wins the day, and culture jammers don't have the budget to saturate society with their images like commercial advertisers do. Small cheap ads (like bumper stickers) can be rolled out fairly ubiquitously without too much expense, and the Internet has helped to level the playing field somewhat, but in the end jammers will never approach the scale of commercial advertising.
Culture jamming can help solidarity both by functioning as normal advertising for the viewers (helping those who already agree with the message to feel like an "in" crowd), and also by functioning as a group project for the creators (helping build community and a sense of involvement). Group projects are underestimated as a way of building social capital in ...
Originally posted on unmediated by Rhizome