Interview: Joy Garnett and Lyra Kilston
New York City, February 3, 2006

http://www.firstpulseprojects.com/ArtLies2006.html

Lyra Kilston graduated from the Bard Center for Curatorial Studies with a degree in Criticism. She has written for NYArts magazine, The Brooklyn Rail, ArtLies and the Performa05 Biennial. This interview was conducted for a forthcoming feature on artists who appropriate news images.

Joy Garnett is a New York artist whose work focuses on images of the apocalyptic-sublime and its intersections with media, politics and culture.Her paintings have been exhibited in the US and uinternationally. In 2002 she organized the traveling exhibition Night Vision, about networks, surveillance and media images of war that traveled to White Columns, NY (2002). In 2004 she received a grant from the Anonymous Was a Woman Foundation. She is currently co-organizing "Out of the Blue," http://outoftheblueproject.org, an exhibition about weather as a metaphor for creativity. She is the Arts Editor at Cultural Politics, an internationally refereed journal published by Berg, Oxford, UK.

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Lauren Cornell:

Please submit, and help us spread the word!

Information on how to submit can be found at the following link:

http://rhizome.org/commissions/

Thanks and best,
Lauren

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GFPixel is a "painting" made of genetically transformed bacteria. The organisms are cultivated in about 4000 Petri-dishes that are arranged as a portrait. Like on digital screens part of the bacteria produce the green light - the Green Fluorescent Protein-gene is switched ON and in the other part the GFP-gene is switched OFF.

The works plays with the border between living world and the digital world, the portrait seems to be digital but it lives and dies during the exhibition.

A work by Austrian media artist Gerfried Stocker and molecular biologist Reinhard Nestelbacher. More images (click "Gallerie und Details")

GPF Pixel can be seen at Medialab Madrid until April 2, as part of an exhibition of the most outstanding projects of digital culture which have won prizes in recent years at Ars Electronica in Linz, Austria.

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As great as the potential of advanced touchscreens may be, for music and other media applications, touchscreens aren't much fun to touch. Close your eyes and remove visual feedback, and you're basically running your finger along a piece of plastic. (You'd think we could figure out a way to at least texture it without losing tracking.) Compare that to piano or drums: musical instruments can be played satisfyingly with your eyes closed. Yeah, you can do that to look "deep," but the point is, you're relying on tactile, not visual feedback.

Here's a promising solution: the Hyperfabric project (via the fascinating ramblings at SteamSHIFT). This stuff is strong (it can support body weight), and lets you actually touch, squeeze, grab, and otherwise manipulate a large-scale fabric surface to control computer-generated imagery. It's certainly workable as a musical instrument, if you want to be able to, in their words, "press your face into the hyperfabric to release fairies."

I have no idea how this thing works, though I'm guessing some kind of correlation of pressure with video sensing. It's commercially available, or you can just ponder what giant spiderweb-like surfaces might someday do for music..

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Shifting Intimacies

Shifting Intimacies is an interactive/media artwork by Keith Armstrong, Charlotte Vincent and Guy Webster that invites the participant to meditate upon and witness the human body disintegrating and transforming whilst in motion.

Each participant enters a large, dark space (20m x 8m) alone. They see two circles of projected film imagery, one on a floating disc of white sand and the other on a circle of white dust. Sounds sweep up and down the space through surround sound, whilst participants’ movements direct and affect the filmic image and audio experience. Throughout the work a layer of dust (an artificial life form) slowly eats away and infuses itself deep into the imagery. This immersive work invites differing states of meditation, exploration, stillness and play and moves through states of eternally shifting balance in ways that produces a heightened awareness of the body.

The work uses a range of technologies including interactive video (Very Nervous System), body heat sensors, custom built electronics, image databases, real time computational synthesis software (Opcode Max), networking software, real time audio digital signal processing (Max MSP) and real time show control protocols. Controllable actuators also move physical material through the air.

Historic Project Blog: http://www.embodiedmedia.com/SI/si.html

Event: Shifting Intimacies, Capture 4 Award, 2006
Venue: The Institute of Contemporary Art (ICA), The Mall, London
Times: 16 February (noon) until 21 February (7.30pm)
Contact: ICA Box Office
Phone: +44 20 7930 3647
Vincent Dance Theatre: http://www.vincentdt.com/curshifting.htm
C4 Home: http://www.portlandgreen.com/capture4/

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Michael Szpakowski, one of the core producers behind DVblog, has recently created 'Scenes of Provincial Life,' a new video blog of his own provocative shorts. The series started as a kind of 'moving image dream diary,' a few years ago, and already features a dozen movies. Each plays with simple juxtapositions of mostly appropriated material, and Szpakowski is slowly uploading his archive, intermixed with new work, at a rate of one file per day. The tones of the videos range from Kentridge-like sorrowful beauty to quirky and experimental fluxus framing. Szpakowski's mastery of remixing pop and historical imagery feels cautiously poetic--an inviting and watchful celebration of the ignored beauty to be found in everyday things. - Nathaniel Stern

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Experiment in Art and Technology

[image: Statement of purpose, Experiment in Art and Technology, (New York, United States), 1967. E.A.T. aims drafted by Billy Klüver and Robert Rauschenberg. via Daniel Langlois Foundation]

See 9 Evenings and Experiments in Art and Technology: a gap to fill in art history's recent chronicles, by Sylvie Lacerte, delivered at REFRESH! The First International Conference on the Histories of Media Art, Science and Technology, held at the Banff New Media Institute from September 28 to October 3, 2005. Following her in-depth research into the many activities conducted by EAT to support artists in their experiments with technology in the 1960's and 1970's, Ms. Lacerte asks why the chronicles of this groundbreaking organisation have been largely overlooked by the majority of works that examine art history of the past four decades. In her text, she offers a few hypothesis to help explain this mystery.

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Plasma Studii:

sorry if i wasn't clear. not what i meant by "just keep quiet". meant, "don't tell anybody, you are just doing it for no reason". glad people (and you) say stuff (even when i disagree). am mostly devils advocate who wants everybody to think hard about why they do what they do. so few admit the most trivial things to themselves.

and it is cool posting the "template" for folks to use and not have to figure out.

do think there's a weird imbalance of support for popularity over support for utility. group mentality is often a bad thing. (which is another reason to always be skeptical, i guess)

On Feb 6, 2006, at 11:03 AM, Jason Van Anden wrote:

Plasma Studii,

You bring up some really good points about past trends - I can certainly understand feeling burned by over-hyped new tech. Been there, done that.

I have been programming (not html coding, but programming) since around 1979 - making my living with it since 1990. I am not sure I need to justify my free advice beyond that.

Jason Van Anden

On 2/6/06, Plasma Studii wrote: ha ha. "to Ajax or not to Ajax" will probably be a moot point in a few years anyway. that's really not my question though. no, i don't mind obsoletism. though higher end tech, rarely becomes obsolete. C was around before most of us were born. Perl was probably around before the net. Java has existed since it was created. PHP is relatively new, but i do hope it survives (not because i can't learn a new thing?) but because it's a useful solution. (CGI bins can be a pain for everyone, not just the server programmer)[...]

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Inbox/Outbox is an e-mail institution operating and establishing connections between virtual and real public spheres as a means to propelling public access. Characterized by its temporary function as an agent, I/O avoids institutional incorporation of its subjects, thus removing itself from the final context, as well as allowing internal institutions and contexts to occur. I/O is based on a division into two binary functions, Inbox and Outbox, Inbox being the receiver of virtual data, which in turn is processed by Outbox and "forwarded" to public spaces.

Inbox/Outbox is currently channelling its activities through Centrifug, an exhibition space within Konsthall C in Stockholm, Sweden. The selection of exhibitions at Centrifug is based on a public booking list, released once every year. The Inbox/Outbox exhibition period is February 22nd - March 5th. I/O is for this occasion calling for participation. Admission will not be limited in any way, neither by amount of data, number of participants nor by any other criteria for selection, given the condition that submitted content doesn't infringe upon laws or regulations.

Submitted data must be suited for printing onto plain (A4) paper or for writing to audio-CD. Deadline is set for February 20th. Submit your data to inbox@inboxoutbox.org

Feel free to forward this invitation. See also: http://www.inboxoutbox.org

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