Newsflash: Computers are all around us, embedded not only in our social fabric, but also in the actual design and architecture of the surrounding landscape. This piece of information may seem obvious to Rhizome News readers, but the implications may not be. 'Situated Technologies,' a 3-day symposium organized by Omar Khan, Trebor Scholz, and Mark Shepard, convenes practitioners across the fields of art, architecture, technology, and sociology to investigate the emerging role of 'situated' technologies in, as the organizers put it, 'the design and inhabitation of the contemporary metapolis.' Co-presented by the Center for Virtual Architecture, The Institute for Distributed Creativity, and the Architectural League of New York, the symposium will explore the possibilities and dilemmas afforded by this new form of networked urban sociality and, also, alternative ways in which situated technologies might be navigated or deployed. Join a group of luminary participants in performances, panels, and workshops as they jumpstart a public discourse on these increasingly pressing questions. 'Situated Technologies' will be held at Eyebeam Art and Technology Center from October 19-21st. - Lauren Cornell

http://www.situatedtechnologies.net

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Screenshot via: Participatory Culture.org

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marcin ramocki:

DIY Computing

VertexList and Rhizome co-present a solo exhibition by Dallas-based artist Paul Slocum who turns outdated technologies, from Ataris to dot matrix printers, into expressive and technically innovative art works. Throughout all his work, variously video, sculpture, installation and sound, the artist fuses nostalgia with a critical take on the rapid obsolescence of technologies.

The exhibition will be on display from Saturday October 14th to November 26th, 2006

A live performance by Cory Arcangel will take place at the opening reception, Saturday October 14th at 9pm

Paul Slocum's page: http://qotile.net/catalog.html

Cory Arcangel's Page: http://www.beigerecords.com/cory/

DIY Computing includes five works new and recent works. In the looping, 60 second video Time Lapse Homepage, Slocum visualizes a website’s transformation through screenshots and sound clips that shows the aesthetic evolution of his personal homepage since it was first launched in 1997. Deep House for Band &Choir (2006) is an installation that involves more than 1970 sheets of music and a loop of the music playing. He composed the piece for the instrumentation of a high school band and choir using software for house music. On DC Power Supply (2005), Slocum recreates Jr. High School book cover doodles into a power supply circuit and LEDs. In the installation Century Caller (2005), Slocum plays with memory, time, and obsolescence through telephone calls automated to play a set of melodies made with samples of my his voice. In Last Chair (2006), Slocum performs as a violin player at an Elton John concert waiting to join in at the end of the chorus -- or rather as what he believe this person might be like. In this piece, and throughout his ...

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Newsflash: Computers are all around us, embedded not only in our social fabric, but also in the actual design and architecture of the surrounding landscape. This piece of information may seem obvious to Rhizome News readers, but the implications may not be. 'Situated Technologies,' a 3-day symposium organized by Omar Khan, Trebor Scholz, and Mark Shepard, convenes practitioners across the fields of art, architecture, technology, and sociology to investigate the emerging role of 'situated' technologies in, as the organizers put it, 'the design and inhabitation of the contemporary metapolis.' Co-presented by the Center for Virtual Architecture, The Institute for Distributed Creativity, and the Architectural League of New York, the symposium will explore the possibilities and dilemmas afforded by this new form of networked urban sociality and, also, alternative ways in which situated technologies might be navigated or deployed. Join a group of luminary participants in performances, panels, and workshops as they jumpstart a public discourse on these increasingly pressing questions. 'Situated Technologies' will be held at Eyebeam Art and Technology Center from October 19-21st. - Lauren Cornell

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Gregory Green explores the evolution of empowerment, with conceptual artworks and performances that suggest explosive devices, such as pipe bombs packed into briefcases or hollowed out books with nuclear warheads. His purpose is to stimulate creative thought about freedom and personal responsibility. Many of his artistic investigations have focused on terrorism and the possibilities for sabotage of the physical infrastructure, and the ease in which individuals, armed with readily available information, can endanger the status quo.

Bible Bomb #1890 and 10,000 Doses (first state)

One work suggests how to manufacture large quantities of LSD as a form of civil disruption (an idea originally proposed by Abby Hoffman), and resulted in the 1995 brief jailing of Feigen gallery director, Lance Kinz.

Green also created guideable missiles that could be armed with conventional or nuclear devices. These pieces contain no explosives but are carefully designed to be potentially functional. Fascinatingly beautiful, the threat of these works lies in their illustration of society's negligence in discounting the hazards presented by the outcast, the eccentric, the individual.

Genetron MP39 and Gregnik Proto II

40 years to the day after the Soviet Union launched the first artificial satellite, Sputnik 1, into space, Green installed Gregnik Proto II, a prototype radio transmitter modeled after Sputnik in Brooklyn. Mounted on a rooftop, the silver orb with five antennas broadcasted unedited artist-created messages over a low frequency fm radio signal to local residents.

More art bombs and missiles: Criket Activated Defense System; Mel Chin's WMD Weapons of Mass Distribution; Little Japan byKazuya Kanemaru; Tom Sachs' Sony Outsider; Johann van der Schijff's toy machines that play with the notion of military and manufacturing industry's power; ceramic hand grenade, landmine or rocket designed as delicate presents; Postapocalyptic survival gear; Fabrice Gygi's Aesthetics of control ...

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  <p><img alt="pushpull.jpg" src="http://www.shift.jp.org/info/archives/pushpull.jpg" width="400" height="295" border="0" /><br />

"Push/Pull" Edwin van der Heide and Marnix de Nijs

"DIGITAL ART FESTIVAL TOKYO 2006" will be held mainly by a Japanese TV program for the new century NHK "Digital Stadium" (Digista) which seeks new talents of digital art. The digital artworks from CG, animation, film works, to interactive installation, which have been introduced in the Digista, will get together at Ariake and Shibuya in Tokyo from December 1st to 10th.

  <p><img alt="Spatial Sounds.jpg" src="http://www.shift.jp.org/info/archives/Spatial Sounds.jpg" width="399" height="315" border="0" /><br />

"Spatial Sounds" Edwin van der Heide and Marnix de Nijs

This event, which will be the 4th this year, is a festival of digital art from Japan, introducing both international and domestic digital art works, seeking and supporting young artists, offering exchange opportunities between artists and agencies. Admission free. Also, reforming the stereotypical image of "artworks to be seen at a museum", they focus more on the concept of letting people enjoy digital art by "Seeing", "Hearing" and "Touching".

"LSP" Edwin van der Heide

The program includes the showcase of nominate works for "Digista Award 2006", which will be on air this later December at NHK-BS2, exhibition and performance by international prominent artists, "Device Art" to experience the latest technology, "Sound Art" to enjoy sounds or music, and many more.

DIGITAL ART FESTIVAL TOKYO 2006 < />

Panasonic Center Tokyo
Date: December 2nd - 6th, 2006, 10:00-19:00 #on 2nd till 20:00, on 6th till 18:00
Address: 2-5-18 Ariake, Koutou-ku, Tokyo

Place: Tokyo Wonder Site Shibuya
Date: December 1st - 10th, 2006, 11:00-19:00 #no holiday
Address: 1-19-8 Jinnan, Shibuya-ku, Tokyo

Organized by ...

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Undersound “is a new type of experience, an interface that is on your mobile phone and in the underground stations you pass through every day. It is part personal, part public and all about the tube. undersound is a way of listening to, distributing and affecting the flow of music in the underground that goes beyond just the music itself. It allows you to see your journeys, the people around you, and the tube itself in a new light. There are three key aspects of life underground that we tapped into in the design of undersound.” The project will be spatially distributed at individual stations and throughout the wider tube network. “Each track in the undersound system will be tagged with its place of origin (the station where it was uploaded) and this information is visible as the track is being played.” The project examines the questions of “Is there a correlation between the flow of people around the tube network and the flow of music tracks around the undersound network? What might a sense of place for these digital artefacts be? Do they care about geographical location too or might their sense of place revolve around the quality and type of network and the technological devices they pass through?” Should be interesting to see it in action.

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Imagine a physical sculptural version of a dynamical system in 3d space or a complex particle simulation, the kind that appears as a floating gas vapour. Using a technique called ‘chromastrobic light’ Paul Friedlander conjures spectacular light sculptures that are the ultimate incarnation of the late 60’s light-show aesthetic bought into the now. They also sit nicely in the lineage of waveform art - everything from early artist experiments with oscilloscopes – Laposky, Whitney, Bute et al to recent computational art concerning attractors, particles and Bezier acrobatics.

The work ‘Dark Matter’ appears as a 3 dimensional iridescent waveform, the result of chromastrobic light projected onto a rapidly spinning rope reflected off a Mylar mirror (flexible mirror surface). Because the rope spins at up to 600 rpm the human eye perceives a three dimensional multicoloured image. It doesn’t stop there - spectators can interact with the piece via two high frequency sound beams which alter the speed of the rope’s vibrations and the colour of the light.

Freidlander’s most recent installation, Timeless Universe concerns itself with the alternative cosmological ideas of English physicist Julian Barbour. 10 different kinetic pieces are arranged in groups illuminated by projections showing images from 3 different computers all generating real-time animations that modify, modulate and transform the chosen subject matter.

videos of his earlier work

Its comes as no surprise that Friedlander was an acolyte of the original psychedelic light shows scene the first time round - he built his first light sculptures while a physics student at the University of Sussex before graduating in 1972. via dataisnature

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hand-picked first web page’s.

p.s. my first webpage was called "welcome to hell". i swear.

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  <p><img alt="cruce_zenith.jpg" src="http://www.shift.jp.org/blog/archives/cruce_zenith.jpg" width="400" border="0" /><br />

Alvaro Cassinelli, Khronos Projector (2005)

One of the pioneering festivals of this kind both in Asia and internationally, Microwave International Media Arts Festival will be held in Hong Kong from Nov 4th to 15th. The festival is approaching its 10th anniversary. The theme of this year is "Animatronica", exploring the nature of animated images through the form of animation and surveillance devices. Prominent artists from all over the world are invited to present their brilliant artworks to the public throughout various programs, i.e. the keynote conference and main exhibition. Inevitably, they are going to share how they merge technology and arts into their works.

  <p>The exhibition of "Animatronica"will be constructed as a technological laboratory where the public is invited to engage, participate and experiment. Featuring international media artists, including Rafael Lozano-Hemmer (Canada), Max Kazemzadeh (USA), Philip Worthington (UK), Camille Utterback (USA), Alvaro Cassinelli (Uruguay), Jin-Yo Mok (Korea) and more. With all these innovative artworks installed, viewers are encouraged to explore the different themes of each interactively. </p>

Are you aware of how much surveillance and monitoring devices around you nowadays? But will they look less malice as they are now? The renowned artist Rafael Lozano-Hemmer is going to present it with a different note. His artwork "Surface Tension", focusing on the motion of the passer-by, having the interactive modules made of animated photos which react to the movements of the public through a video-based tracking system. Another side of the camera-capturing world is about to unleash. Remember how we cast shadows over the wall by hands when we were kids? Sharing the similar idea, Philip Worthington's "Shadow Monster" will show us how to turn a shadow ...

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