Posts for November 2005

Volunteer needed for a region-specific performance in Bushwick, Brooklyn, NY on this Sat. Nov. 12th (part of Bushwick Art Projects)

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o.blaat:

Looking for a volunteer to bike around Bushwick, Brooklyn, NY to video 'spot document' a region-specific live performance during [BAP] (Bushwick Art Projects) on this Saturday, November 12th. The performance will start around 8:30 p.m.

I personally planning to bike around and make visits to chinese takeout restaurants in Bushwick area, starting at 8:30 p.m. on Sat. Nov. 12th as a part of BAP.

I'll audioblog with GPS positioning data documented during this trip - which simultaneously be broadcasted at ORTPLAY @ORT (330 Ellery st., 1st & 2nd. floors, Bushwick near J train Flushing Ave. station.)

While I can do much stuff myself, it'd be super helpful if there is one more person can make the trip with me! I'm looking for a person who can participate the 'hopping-around' with a video camera (better;) or a digi camera with mov. mode (okay), on a bike/skateboard etc. (I'll be on bike myself.. so the other person needs to be also with something faster than on foot. and if necessary, I may be able to hook you up with a bike which I can borrow someone from ORT.)

I presume the trip would take approx. over an hour. (but definitely less than 1.5.)

I'd appreciate if you can forward to whoever may be interested.

thanx millions!!

Keiko Uenishi
646-932-1409
http://obla.at

re: ORTPLAY >> http://obla.at/ortplay.php
re: BAP >> http://whitebunnyprod.com

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Originally posted on Rhizome.org Raw by o.blaat


Lincoln Schatz - Interactive Video Memory Works

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Lincoln Schatz
Collision (2005, 15.5MB, 2 min.)

‘Collision’, an exhibition of works by-  Lincoln Schatz,
opens at Quint Contemporary Art in La Jolla, California on November 12.

Lincoln Schatz
Merge (2003, 9.8MB, 2:13 min.)

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Originally posted on DVblog by admin


DJ Spooky Re-Sets Nam June Paik

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Resetl

Performa Arts Biennial
in conjunction with
the Museum forAfrican Art

Reset
A performance piece by Paul D. Miller aka DJ Spooky That Subliminal Kid consists of a re-construction of Nam June Paik’s 1971 performance piece TV Cello (starring Charlotte Moorman) starring Joan Jonas with musical and video accompaniment composed and performed by Paul D. Miller. Reset is an invocation of some of the major elements of Paik’s original piece that appropriates the ambiance of the Fluxus compositional strategies that Paik used to alloy his multi-media environments.

November 14th
6:30-9:30pm

@                                                                                                                                                    
Angel Orensanz Center for the Arts
172 Norfolk St, Manhattan
(corner of Houston)

via
Performance Art Gets Its Biennial, Roberta Smith, NYTimes:

The re-enactment of performance art as a way of both paying homage and retrieving some of the form's past glories recurs in other Performa 05 events. In a program sponsored by the Museum for African Art at the Angel Orensanz Foundation on Nov. 14 that also includes a work by the South African artist Berni Searle, Paul D. Miller (a k a DJ Spooky) will present "Re-Set," a V.J. tribute to the video pioneer Nam June Paik. Mr. Miller will mix excerpts from Mr. Paik's characteristically fast-moving, flashy videos with a new video of his own devising: it restages a performance by Charlotte Moorman, the cellist who was Mr. Paik's longtime partner in aesthetic crime, played by the performance artist Joan Jonas.

More info on Performa at Artnet News.

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Originally posted on NEWSgrist by joy garnett


Stelarc articles

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stelarc
neme.org:

Our site neme.org has secured 3 texts by Stelarc which we will be publishing on line in the next 10 days. The first one, FROM ZOMBIE TO CYBORG BODIES - Extra Ear, Exoskeleton and Avatars" is already on line on http://neme.org/main/250/from-zombie-to-cyborg

Stelarc joins our list of writers we already published which includes Simon Sheikh, Peter Lambert Wilson, Charles Esche, Michael Haerdter, Richard Barbrook, Lev Manovich, Steve Dietz, Paul Vanouse and Nikos Papastergiadis.

neme.org focuses on arts calls, news and critical articles.

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Originally posted on Rhizome.org Raw by neme.org


Music to Your Eyes

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Before the advent of recording technology, listening to music was a very visual experience, as musicians and their audiences tended to occupy the same time and space. Christian Marclay's work often reintroduces us to the visual pleasures of music, in the form of images, sculpture, and video installations. Tonight at New York's Eyebeam, the artist presents Screen Play, a 'moving image musical score in which Marclay has combined found film footage with computer animation to create a visual projection to be interpreted by live musicians.' Members of three ensembles will respond sonically to Marclay's visual cues. Presented in conjunction with the Performa 05 Performance Art Biennial, the piece may be a mouthful to describe, but promises to deliver playful layer upon layer of performativity. Publicized stills from the project hint at a meditation on the relationship between composing and programming while, in some ways, Marclay is really engaged in a de-composition and breaking-down of visual texts. Ironically, much of the computer animation comprising the 'video score' in Screen Play looks like the graphic imagery in old computer games. With pictures worth a thousand notes, this high 'score' will surely take your eyes and ears to the bonus round. - Marisa Olson

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Under Scan

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For UNDER SCAN, thousands of "video-portraits" taken in Derby, Leicester, Lincoln, Northampton and Nottingham (UK) will be projected onto the ground of the main squares and pedestrian thoroughfares of the cities. At first, the portraits will not be visible because the space will be flooded by white light. As people walk around the area, their shadow will be cast on the floor, revealing the video-portraits.

proitre.jpg

The video sequences begin with the subjects in a still position turned away from the camera. As they appear within pedestrians' shadows, their bodies move and their heads turn to look straight at the pedestrian. When a shadow moves away from a portrait, the portrait likewise reacts by losing interest and looking away.

A project by Rafael Lozano-Hemmer.

See it at Lincoln: Nov. 25 to Dec. 4; Leicester: Jan. 13-22, 2006; Northampton: Feb. 3-12, 2006; Derby: Feb. 24 to March 5, 2006 and Nottingham: March 17-26, 2006.

Via Mirjam Struppek.

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Nice follow-up to "Body Movies"!

Originally posted on we make money not art by Rhizome


BlueTooth Goes Collaborative

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BlueBox is a “bluetooth software and hardware application designed and developed by Maria N. Stukoff and Jon Wetherall for the creative use of mobile phones via bluetooth. As a systems-based art project, it enables the public to network together via bluetooth to play with various designed mobile applications in a coordinated city environment.

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Originally posted on coin-operated by Rhizome


Telephonic Art @ Pacific Film Archive

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Marisa Olson
:

BUSY SIGNALS: TELEPHONIC ART IN MOTION
A two-part series: Wed Nov 16 & Wed Nov 30

Bring Your Camera Phones!

Though classified as a communications device, the telephone really is an instrument of culture. The phone has always shaped the way people relate by collapsing distance, reinventing conversation, even questioning the notion of privacy. But in recent years, especially with the advent of the cell phone, this device has been at the hub of a lively and inventive commerce in data delivery, fashion, recreation, intercourse, and even art. Now we have miniaturized movies dropped into waiting receivers; camera phones uploading stills to Web storage; ringtones merchandised as personal branding; text messaging coming on like a poetry slam. As usual, artists have answered the call, wringing minimalist melody from polyphonics, disrupting the everyday with creative pranks, or simply investigating the meaning of messages from nowhere. Join us for two evenings of Busy Signals: toney performance, cellular trickery, and films about phones. We promise, not a single wrong number.

Wed Nov 16
7:30 Rotary
Live Performance by Marisa Olson.


Andy Warhol's riotous 1973 quasi-TV show Phoney stars his Factory luminaries, while Christian Marclay's Telephones stars just about everyone famous as he pillages Hollywood films for a montage about the anxiety of human intercourse. Also, works from the British Pocket Shorts, and a live telephonic performance by Marisa Olson. Plus many surprises!


On both evenings, Benjamin Hill and Carrie Burgener from UC Berkeley's School of Information Management and Systems will involve us in a projected mosaic using your camera phone images as raw material.

Second week:
Wed Nov 30
7:30 Touchtone
Live Performance by Jon Brumit.


Some filmmakers are closet phonephreaks, and tonight's program brings them out of the phone booth: works by Eric Saks, Chris ...

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This is a very cool two-night series. I'll be performing a monologue of sorts, called "What My Telephones Knew About Me," on the first night (Weds 11/16) and there are many great artists throughout the two nights...

Originally posted on Rhizome.org Raw by Marisa Olson


Stanza: Abuse of the Public Domain AT HTTP Gallery.

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email stanza ...
marc garrett:

HTTP Press Release.

Stanza:
Abuse of the Public Domain.

Private View Thursday 8th December 7-9pm
9th December 2005- 23rd January 2006

HTTP presents Abuse of the Public Domain, the first solo show of networked media art by Stanza.
http://www.http.uk.net/docs/exhib8/exhibitions8.htm

This exhibition features two large video projections, which use live real-time data from CCTV cameras sited in two cities, London and New York. Security tracking data is Stanza's chosen medium for these process-led artworks.

You are my subject uses data from a single fixed camera in New York, focusing on subjects as they pass below it. Authenticity [Trying to imagine the world from everyone elses’ perspective, all at once] draws its imagery from cameras all over London. Other works can be viewed in a web browser via the Internet and turn us all into voyeurs of eerie 'parallel realities'.

“CCTV systems are everywhere in the public domain. Millions of hours worth of data are recorded every day by these cameras. We are all unwitting bit part actors, in the filming of our own lives. Usually we cannot watch. The results are not collected for broadcast back to the public. Rather they are monitored, filtered, distributed and archived without our knowledge or permission. The city has millions of CCTV cameras. One can take the sounds and images off live web streams to offer them back to the public for new interpretations of the city. In essence the city of London can be imagined as the biggest TV station in existence.

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Originally posted on Rhizome.org Raw by marc garrett


Disinformation: Shrewd + Almost Dematerialized

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Gallslide6

Paul Chan's "The Question of Democracy is an Extremely Complicated One" (2005)



via NYTimes
:

'If It's Too Bad to Be True, It Could Be Disinformation'
Apexart

291 Church Street, between Walker and White Streets, TriBeCa
Through Nov. 26
by Holland Cotter

Old-style political art said yes or no, told you what to do, advertised an ethic. New-style political art, as often as not, obscures its intentions, makes you wonder what it's up to, goes for confusion, often in an attempt to beat disinformation at its own game.

Disinformation? As defined by this shrewd, almost dematerialized group exhibition, it is a passive form of political deceit. Often associated with government, and sometimes with the news media, it means telling lies through the omission of facts, the idea being that the less people know about what officials are doing, the less likely they are to raise a fuss.

Some of the art in the show, organized by Mercedes Vicente, curator of contemporary art at the Govett-Brewster Art Gallery in New Plymouth, New Zealand, demonstrates how disinformation operates; the rest suggests how it might be resisted. A video by Martha Rosler edits news into selective sound bites. Paul Chan uses an essay on democracy by Saddam Hussein to illustrate the persuasive impenetrability of ideology-babble. Neither piece, however, qualifies as didactic in a protest-art sense.

Almost all the other contributions are by artist-collectives. The neutral collective voice offers a reasonable equivalent to disinformation's tone of authorless authority. At the same time, collective action is a conveniently diffuse way to infiltrate the disinformation stream.

In some cases, this means adapting existing information to new messages. A collective called the Yes Men reimagined Dow Chemical's Web site to create a fictional public announcement in which the company admitted full responsibility for ...

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Originally posted on NEWSgrist by joy garnett