Posts for October 2005

Towards Tag Poetry

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In the world of tag metadata - folksonomies, fauxonomies, etc. - there are a few high-profile services and a million up-and-coming. Flickr photos, del.icio.us bookmarks, and Technorati blog posts all use tags to turbo-charge their useful output, increase community involvement, and simplify third party APIs. Many pieces of digital text art in the last two years have centered around the use of publicly available tagging - in particular search visualizations and generators.

In general, however, the tags tends to be a second-order supporter of digital art, not the focus. I have not yet seen a poem or a short story written entirely in tags. There are some intriguing possibilities - for example, TiddlyWiki supports tagging of individual entries in a way that might help the development of tagged wikifiction - but so far the artistic excitement and energy around tags seems to be around the infrastructure enabled by them or the data visualization techniques built on top of them, not making specific statements through them.

There are however a few examples of writing with tags, rather than above or around them. One is the header of We-Make-Money-Not-Art, which uses a tag-cloud navigation display in lieu of a subtitle, tagline, about blurb, or anything describing what the site is and what it does. The tag cloud is an organically changing navigation tool, and it is the description of the site as well. (There may be a other sites which do this, or even did it first - I’m just not familiar with them).
Tags: , ,

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to a second, more dramatic example - a recent announcement of an upcoming event on Flickr blog. The announcement was not prose, however, but instead a typical cloud tag, alphabetized, with words scaled and color-coded to show their relative importance. The date, time, event name and hosts jumped ...

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Originally posted on WRT: Writer Response Theory by Jeremy Douglass


A survey of the aesthetics of videogames

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An essay on Videogame Aesthetics, by David Hayward.

vibribbon-001.jpg halflife-phot-002.jpg

Via Wonderland.

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Originally posted on we make money not art by Regine


Support Rhizome.org.....

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I have made some marker and crayon drawings for Rhizome.org's fundraising drive. The drawings are the cover to a CD-ROM which contains whatever was in my work folder for my F1 racing mod...which means source code, but also work files, notes, scraps, ... it is just basically a snapshop of my studio (aka hard drive) while making that project (you get to see how messy I am)...if you donate to rhizome, you also get one of my posters too as a bonus!!!...both are signed....

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Originally posted on Cory's Web LOG by Rhizome


The Empathy Vest

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Is it possible to sense the effect of being there without physically being present?

Leah Heiss
developed the Empathy Vest to investigate remote sensing and Spatial Empathy ("the development of an implicit understanding and awareness of the spatial condition that another being is experiencing.")

vest-2.jpg

The garment allowed for the transmission of data that was converted into sensory affect. Two touch sensors and one voice relay sensor, gave the wearer a sense of experiencing informational stimulus mapped onto the body through the output modes - 4 x light channels and 1 x fan. These sensory impacts on the body questioned whether the fact that the wearer can feel the physical stimulus could make him/her develop an empathic connection with the remote space or person(s) from which the signals were being received.

Image source.

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Originally posted on we make money not art by Rhizome


Masahiro Fukuyama suits

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Masahiro Fukuyama sculpts suits, inspired by the ancient culture of the Samurai and contemporary game-culture.

mas2.jpg masa08.jpg

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Originally posted on we make money not art by Rhizome


blinkenlights 2.0

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  <p><img alt="instantblinkenlights.jpg" src="http://infosthetics.com/archives/instantblinkenlights.jpg" width="400" height="200" />the truly impressive <a href="http://infosthetics.com/archives/2004/12/blinkenlights.html">blinkenlights</a> seems to be finally running again for the next 2 weeks at the Alexander Platz in Berlin. blinkenlights is basically a huge 18 x 8 pixels monochrome screen based on computer-controlled lights that are placed behind each of the windows of a small skyscraper. users can create their own animations to be displayed, play Tetris, Pong or Pac Man against each other in real time via their mobile phone (call 0190-987654) or install a small software program to play via their computer instead. <br />

don't forget to watch the documentary movie to truly appreciate its effects. see also enteractive & internet facade. [blinkenlights.de|via geekheim.de & we-make-money-not-art.com]

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Originally posted on Eyebeam reBlog by infosthetics


Totally Psycho((geographic))

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Using cartography to study space is sooo 20th Century. Glowlab prefers locative media over maps and the American collective's 'psychogeographic' work blurs the boundaries between performance, sculpture, drawing, and other conventional genres. In their nine-week exhibition at Art Interactive, Glowlab members (including Jonah Brucker-Cohen and Katherine Moriwaki, Dave Mandl, Christina Ray, Sal Randolph, Lee Walton, and others) will intervene in the Gallery's Cambridge, MA, neighborhood to conduct situationist experiments ranging from scavenger hunts and chance-driven walking tours to the release of secret-message balloons. They've thrown in a few readings and concerts for good measure. After using people, trash, bikes, clothes, the sky and other variables as their primary materials, the artists will post the remnants of their research in one of those ancient vestibules known as a 'gallery.' Check it out October 14 through December 11. - Marisa Olson

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Transient Stains

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New media art veteran Jody Zellen's work explores the vignettes, ebbs, flows and narratives (real or imagined) that emerge from the relationships we have with urban spaces. Her latest piece 'Trigger,' which she produced while in residence at Pace Digital Gallery in New York, features six projections of documentary-style images in a stairwell at Pace University. Visitors to the space pass through changing, black-and-white cityscapes occasionally enlivened by splashes of color. Their shadows become part of the work, constructing a relational architecture similar to artist Rafael Lozano-Hemmer's large-scale, public works, only on a much more intimate scale. Zellen has also placed intricate transparencies in the windows, creating stained glass-like portraits that elevate urban life to a higher, more iconic status. All elements together, the piece evokes the transient nature of urban space, and our equally fleeting and shifting perceptions of it. See your city, and your path within it, in a new light through 'Trigger' which is on view from October 18-November 8th.--Nathaniel Stern

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Abe Linkoln - DEATHDISCO.mov

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DEATHDISCO
DEATHDISCO.mov (2005, 22.7MB)

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Originally posted on DVblog by abe


odys

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odys.gif

a non-linear video art series for iTunes and iPod

odys for your iPod is an extension of Nathaniel Stern's odys series, 2001-2004. The odys series consists of six short digital video poems/monologues for small screen viewing in an intimate gallery space. By stuttering between odys' actions and words, listeners construct his person. As he attempts to re-member, bringing the past back to his body and calling it his own, listeners attempt to piece together a story for themselves. Viewers are encouraged to re-visit and jump over juxtaposed media, and create a shifting collage of, and in response to, his person.

odys-iPod.jpgodys for your iPod encourages viewers to download all six of the newly optimized video art pieces from odys.org, and into iTunes and their iPods. It allows for an even more intimate and physical relationship with his character, as well as a continually growing connection with each vignette.

odys' name comes from The Odyssey; he is the traveler, the seeker of home (Ithaca). Contrary to both Odysseus and hektor, odys is an unconvincing liar and horrible storyteller. His failed attempts to speak the traumatic past are often mistaken for nonsense. Ironically, odys’ poor endeavors at communication can now be largely consumed by a take-away transmission: online. odys' language of utterances is about the "spaces between." The space between words, between articulation and inarticulation, between Troy and Ithaca, between judgment and responsibility, and between speaker and listener.

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Originally posted on networked_performance by jo