Posts for September 2005

With or Without U2

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Even The Edge thinks it's cool to hear a U2 sample on a dance record, but more than a decade since Island Records' infamous suit against Negativland for the release of their mash-up featuring U2's music and legendary Casey Kasem out-takes ('these guys are from England and who gives a sh_t'), corporate patrollers of intellectual property still occasionally stir up bad press for themselves and provide polemic mileage to artists by targeting otherwise obscure artworks. With the advent of the iPod U2 Special Edition (which comes emblazoned with the band's autographs and a discount coupon for U2's digital box-set), artist Francis Hwang (who is also Rhizome's Director of Technology) created the 'Unauthorized iPod U2 vs. Negativland Special Edition' to commemorate the indie band's protracted tussle with big business. He preloaded the U2 iPod with eight Negativland albums and adjusted the package graphics accordingly. Apple Computer, citing copyright infringement, contributed to the poetry of the object when it instructed eBay to halt Hwang's auction of the piece. The iPod was eventually sold on the artist's website, and now a second edition will be included in Negativlandland, the group's 25th anniversary exhibition at New York's Gigantic Art Space, on view today through October 22, 2005. - Johanna Fateman

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Sonification/Listening Up:

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bodle.gif

Research Made Audible

Sonification/Listening Up--by Carrie Bodle in collaboration with MIT Haystack Observatory--is a multi-speaker site-specific sound installation on I.M. Pei's iconic Building 54 at MIT. The speakers broadcast audio representations of sound waves embedded in the Earth's charged upper atmosphere, or ionosphere, a region under active radar study by the Atmospheric Sciences Group at MIT's Haystack Observatory. This project utilizes sound as a representation of research at MIT, extending to the public what is normally invisible. [....]

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Originally posted on networked_performance by jo


The Art of Database

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The Art of Database

Much digital art has a database of files as it’s content. In several pieces that I’ve done both in collaboration with Peter Sinclair and in my own solo work assembling the files for the database is a key, if unseen, element to the work.

In A Soapopera for Laptops and A Soapopera for iMacs (1998-2005) a database of text files that were spoken by text-to-speech voices were assembled. The four characters, Fred, Ralph, Princess and Kathy correspond to the native synthetic voices of the Mac OS. Each character had a series of conversational tidbits, repartee, songs and exclamations. The front-end programming, a Max MSP patch assembled the text and fed it to the voices to be spoken using keywords triggered by speech recognition. Therefore the art of database has a synchronic two-part process, the files are assembled according to the manner in which they will be presented by the front-end program and the front-end program is written with the database in mind.

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


The return of the Net Art Open

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The Net Art Open is back after the summer break with lots of great new work and as always full archives of all previous projects. Subscribe to the RSS feed to keep up to date automatically.

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Originally posted on Stunned by stunned


two things (not an exhaustive list) about which I was wrong on this list

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Michael Szpakowski:

I *was* pretty splenetic about Data Diaries - a few things came together on that but the gist of my position was that it was a one liner - essentially fairly disposable conceptualism with some almost optional visuals and sounds ( and way too many of them, in that I felt then that they were there just to *illustrate the point*) that came with the "idea". Furthermore Alex Galloway in his intro piece made a big point, indeed a virtue, ( and of course it was entirely unfair of me to take this out on the work itself) of that fact that it stemmed from a clever but essentially very quick hack.

I would want to say that I find the one liner culture in general a depressing thing & that I see lots of work that gives me no reason to feel any more charitable to it than I did then. The artistic one liner currently comes, as you know, almost inevitably with some sort of explicatory statement, usually by the artist her/himself although in this case the honours were done by Alex Galloway. In general, its something I'm pretty uncomfortable with since the pairing of one liner and usually theory laden explanation is often at kindest banale.

Nevertheless I was wrong about Data Diaries ...

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Originally posted on Rhizome.org Raw by Michael Szpakowski


Sweet Dreams : Contemporary Art and Complicity

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Sweetdreams

Here's an interesting new publication:

Sweet Dreams : Contemporary Art and Complicity
by Johanna Drucker
264 pages
University Of Chicago Press (July 15, 2005)
ISBN: 0226165043

via Amazon:

[...] Calling for a revamping of the academic critical vocabulary used to discuss art into one more befitting current creative practices, Drucker argues that contemporary art is fully engaged with material culture--yet still struggling to escape the oppositional legacy of the early twentieth-century avant-garde.

Drucker shows that artists today are aware of working within the ideologies of mainstream culture and have replaced avant-garde defiance with eager complicity. Finding their materials at flea markets or exploring celebrity culture, contemporary artists have created a vibrantly participatory movement that exudes enthusiasm and affirmation--all while critics continue to cling to an outmoded vocabulary of opposition and radical negativity that defined modernism's avant-garde. At the cutting edge of new media research, Drucker surveys a wide range of exciting contemporary artists, demonstrating their clear departure from the past and petitioning viewers and critics to shift their terms and sensibilities as well. Sweet Dreams is a testament to the creative processes and self-conscious heterogeneity of art today as well as a revolutionary effort to solicit collaboration that will encourage the production of imaginative thought and contribute to contemporary life.



via Artnet, 9/9/05:

Book Report
by Walter Robinson [excerpt]

Communism, fascism - does capitalism have a place in this pantheon of art and ideology? Not really, though Johanna Drucker’s Sweet Dreams: Contemporary Art and Complicity (University of Chicago Press, 2005, $40) promises to focus on the ways that contemporary art (from the 1990s till now) has surrendered to the temptations of sugary mass-market culture.

Pinups by Vanessa Beecroft and Lisa Yuskavage, heaps of consumer goods by Jason Rhoades and Jessica Stockholder, assorted engagements with media, technology, spectacle, identity ...

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Originally posted on NEWSgrist by joy garnett


ASSISTANT PROFESSOR OF NEW MEDIA/INTERMEDIA-PURDUE UNIVERSITY

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Rosanne Altstatt:
ASSISTANT PROFESSOR OF NEW MEDIA/INTERMEDIA
PURDUE UNIVERSITY

Position: Entry level, tenure track academic year appointment beginning August 14, 2006.

Salary: Commensurate with experience and qualifications.

Responsibilities: Teach cross-disciplinary courses and develop curriculum in New Media/Intermedia across the four divisions of the Patti and Rusty Rueff Department of Visual and Performing Arts and in association with the Purdue University Envision Center for Data Perceptualization. Courses taught will depend upon candidate’s areas of expertise. Possibilities include: net art, computer animation, computer-mediated performance and object art, video installation, video design for dance and theatre, design as performance, show control systems, Max/MSP/Jitter, scripting and/or programming for visual and performance artists, and related areas. Continuing professional work in creative endeavors and/or research beyond Purdue University is required as is participation in usual departmental activities.

Qualifications:M.F.A. or equivalent professional experience required. Professional experience and university teaching preferred. Applicant must be a practicing New Media/Intermedia artist with a strong theoretical basis and have expertise in two or more of the following: motion capture, CAVE™ technology, motion graphics, tele-presence, robotic or sensor-based technology, performance art, programming and/or scripting, human-machine interface, virtual reality, or other related areas.

Department: The Patti and Rusty Rueff Department of Visual and Performing Arts is comprised of four divisions (Art & Design, Dance, Music, and Theatre) and has more than 950 undergraduate majors, 57 graduate students, 58 faculty and 15 professional and administrative staff members.

Facilities: The Yue-Kong Pao Hall of Visual and Performing Arts is a state-of-the-art facility with eleven computer labs, design and performance studios with integrated technology, and rehearsal, performance, and exhibit spaces dedicated to the visual and performing arts. Audio production studio and performance spaces, music computing, visualization of three-dimensional objects and environments, motion capture, digital photography ...

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Originally posted on Rhizome.org Raw by Rosanne Altstatt


FIELD OF VISION: THE FINAL CALL

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Stephan Hausmeister:


STOP PRESS..

Last chance to have your work included in

http://www.field-of-vision.net/Extremes

at the Institute for New Media, Frankfurt / Germany

>> DEADLINE: THURSDAY, 15 SEPTEMBER 2005 < <
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>

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Originally posted on Rhizome.org Raw by Stephan Hausmeister


Report from Unyazi

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National Arts Council
nathaniel stern:
Electronic Music Symposium and Festival 2005
Wits School of the Arts, University of the Witwatersrand
Johannesburg, South Africa
September 1-4, 2005
by nathaniel stern--http://nathanielstern.com

Positioning itself as ‛the first festival of electronic music and sonic art in Africa,’ the main successes of Unyazi can be summed up in two words: listening and exchange. Director Dimitri Voudouris and Associate Director Christo Doherty hoped that the festival would open up more potential for experimental sound art in South Africa, by introducing it to the international scene. It also became a platform for the re-examination of the polyphyletic origins of electronic music as rooted in listening, performance, and improvisation--exactly the things that African culture has to offer. [More...]

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Originally posted on Rhizome.org Raw by nathaniel stern


Reminder: 9/16 deadline: CAA-New Media Caucus panelist proposals

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Marisa Olson:
Hello, again. I've received a few interesting proposals for this panel, but I'm still looking for more. The call is below. Thanks! - Marisa

CALL FOR PAPERS
The New Media Caucus panel at the College Art Association’s 93rd annual conference
Panel title: "From database and place to bio-tech and bots: relationality vs autonomy in media art

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Originally posted on Rhizome.org Raw by Marisa Olson