Posts for December 2006

[Ariel Guzik]

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"Assembling Of Spider-Percussions". A sound installation by Ariel Guzik.

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Originally posted on VVORK by Rhizome


Call for applications: Festival Break 2.4

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The purpose of the multimedia festival Break is to explore new artistic expressions and contemporary topics and to emphasize emerging poetics whose artistic discourse has not yet been deep-rooted within firmly established standards, criteria and cultural values.

The ninth edition of the festival, Break 2.4, will take place in Ljubljana from the 5th to the 18th of November 2007.

We are currently seeking art projects, from established, mid-career, and emerging artists, that address the theme selected for the festival: Potemkin village.

Definitions of the Potemkin village:

Pretentiously showy or imposing facade intended to mask or divert attention from an embarrassing or shabby fact or condition

Something that appears impressive but is ineffective and insubstantial

Any hollow or false construction, physical or figurative, meant to hide an undesirable or potentially damaging situation

Politically generated appearance that covers a less impressive underside

The application must include the completed application form, supporting material, and a project presentation (visual and/or text) on A4 sheet.

Deadline: February 1, 2007 (postmark)

For more information, please check: http://www.break-festival.org

or contact: info@break-festival.org

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Originally posted on Rhizome.org Raw by Rhizome


Transit

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Mental Maps and the Networked Urban Space

Transit by KLAUS FILIP & NICOLAJ KIRISITS :: There is no doubt that within a few years urban space will be fiilled up with invisible data. Digital Communities will be located in real space. The internet will be extended by a geospatial network. All you'll need is a mobile interface (cellphones) to get involved with the communities / information / networks at certain places within the city. But what does that mean for the face of the city?What kind of mental map will we have from the geospatial networked based urban space?

As Kevin Lynch (1960, the image of the city) researches the legibility of urban space, Transit tries to find out the legibility of digital communities in urban spaces. For that proposition we built up an example of this digital urban space on a free field at the Kleyehof (Burgenland) with 25 invited Media artists. The Elements of that digital sculpture were text, video, sound and digital code, spatial located by using gps tools. The grid elements could be connected, to set up different networks.

The Objects are based on a spatial Masterplan, situated in a 3D grid of 1 to 1 to 1 meter; 20 meters long, 20 meters wide and 3 meters high), which defines private area (everyone can see-hear what you do but only you can change it), public (everyone can schange the data), and free spaces.

Transit was part of the podspot project at the University of applied arts vienna / department of digital art. [via Rhizome]

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Originally posted on networked_performance by jo


Copy-paste (net.)art

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0galerijasi.jpgLast May, i blogged about Plagiarismo, an exhibition that tried to demonstrate that the appropriation and re-formulation of other artists' ideas is an essential component of culture.

Vuk Cosic - who's having a solo exhibition at the Skuc Gallery in Ljubljana- wrote me then that he was putting together a show called CTRL-C on a similar subject. The show has just opened at the galerija Simulaker in Slovenia. Here's the gist:

From Duchamp and Benjamin to Beuys the art of the previous century has asked the question of copying and multiplying as a legitimate artistic practice. The advent of the internet has dramatically placed the digital original and digital copy in the very center of artistic but also economic frictions.

Mere simplicity of making copies is socially not perceived as a liberating tool for artistic creation but is turning out to be the main point of conflict between economic interests and those of societies at large. Traditionalists fighting for Intellectual Property are trying to pull the giants from under our feet.

The CTRL-C show is presenting projects exclusively focused on the artistic relevance of the digital copy. Exhibited works are using the language of the non-original to express a very concrete critique of the circumstances in the world of art and in the society. All works in the show have provided their authors with a measure of scandal and a bigger measure of fame:

In September 1997, Vuk Cosic made an almost perfect copy of the website of Documenta X before it was taken down by the organisers of the famous contemporary art show. The artist saw his act as an 'expression of a rebellion against the art system and the return of art from a gallery into reality.'

0020101t.jpgEpilogue: The copy found its way into relevant 'kunst.historisch ...

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Originally posted on we make money not art by Rhizome


Arty games with an agenda

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Spring-Alpha + The People Speak +

[Also see Political/activist/radical, The war on terror, and Serious Games.]

Simon Yuill's Spring-Alpha project (which actually consists of several games) is a simulation game (like the Sims). What is particular to the game is that it is "open source" and the player is allowed to modify the code of the game. Hence, the game is double-sided. On the one hand side it is about playing a simulation-game but on the other hand side, it is also about creating a simulation-game - it is a "design game" where the players / the programmers, through the inscription of rules for behaviour, negotiates the perspective of the game. The object of the game is not only to provide an entertaining game simulation but also to make the player contemplate the simulation, its perspectives, possibilities, and its limitations. In addition, the game is inspired by the works of artist Chad McCail, and it is nice to see that computer games actually are capable of having a graphical expression which strives for something else than simply imitating the real world.

The exploration of the possibility of using games to stage hidden structures and hidden social relations can also be used outside the world of the monitor. The People Speak is a group of artists who in one of their projects used the quiz show as a set-up in a design process of a mural in a social housing area in a East London. The quiz show enabled them to involve a group of people living in the area that are usually very difficult to contact under normal circumstances.

Runme.org is a database for software art curated by Olga Gurionova og Alexei Shulgin. If you are interested in games that experiment with the game world as a distinct artistic expression ...

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Originally posted on networked_performance by jo


Everything i shoot is art

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0everythingishoo.jpgEverything I Do is Art, But Nothing I Do Makes Any Difference is a playable level for Half Life 2 and a performance conceived as a direct response to an installation of his friend Pat Rios.

Rios had filled a Chicago gallery with objects and furniture that suggested his mantra that 'everything he does is art.' Chris Reilly replicated the gallery space and its art pieces in a 3D first person shooter game environment by manipulating its architecture. During the performance, Reilly manipulated the character to 'interact' with the space. Shooting up the room, blowing up Pat Rios' installation, and graffitiing 'CHRIS' on the wall with a machine gun. Reilly was not only paying homage to male adolescents impulses within gaming environments, but also reacting to Rios' artistic vision.

"After all, if everything you do is art, that's kind of like saying nothing you do is art; everything's on the same level," explained Reilly. "That condition goes along well with a video game, where everything is basically without consequence. If you die, just start over and everything's back to the way it was."

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In a second version of the work, Everything I Do is Art, But Nothing I Do Makes Any Difference, Part II Or: How I Learned to Stop Worrying and Love the Gallery, the 3 floors of an art gallery had been modeled, along with some of the artworks from the show.

The Ai systems of the modified Source engine was unleashing attacks of monsters, aliens, robots and zombies (all of them characters from the original game) on unwitting virtual gallery attendants. Health points and extra ammo could be earned by machine-gunning the artwork. Players/performers were also given a vast arsenal of military-grade guns for "expressive destruction" of the gallery walls. They could also ...

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Originally posted on we make money not art by Rhizome


netcase #1

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Eduardo Navas: Net(work) Art

netcase #1: Eduardo Navas: Net(work) Art: Criticizing, producing and curating

Eduardo Navas is a critical theorist and artist born in Salvador, living and working between San Diego and Los Angeles. During his lecture at MLAC Navas will present some of his art, theory and criticism focused on culture and media at large. The lecture will also focus on Navas's recent research on Remix as a cultural activity affecting curatorial practice; he will present examples of New Media projects that challenge the way curators approach contemporary art.

Eduardo Navas is an artist, historian and critic specializing in new media; his work and theories have been presented in various places throughout the United States, Latin America and Europe. He has been a juror for " Turbulence.org" in 2004 and for "Rhizome.org" in 2006-07, New York. Navas is founder and was contributing editor of "Net Art Review" (2003-05), is co-founder of "newmediaFIX" (2005 to present) and is co-founding member of "acute.cc", an international group of artists and academics who organize event and publications periodically. Currently, Navas is adjunct professor in Theory and Practice at Otis College of Art and Design in Los Angeles, and adjunct faculty of multimedia practice at San Diego State University. Navas is a Ph.D. Candidate in the Department of Art and Media History, theory and Criticism at the University of California in San Diego.

netcase is not just a space for exposition, not just a space for networking as artefact, but also a space for questioning and discussing networking as critical practice: networks as spaces of production. netcase proposes curating as a practice invested in understanding new media and methods of production. netcase is a project by MLAC -- Museo Laboratorio di Arte Contemporanea of "La Sapienza" University of Rome ...

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Originally posted on networked_performance by jo


Jeb Bush Pictured With Blackberry In Official Portrait... | The Huffington Post

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thats my man,...blackberry in oil paint.

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Originally posted on del.icio.us/cory_arcangel by cory_arcangel


Santa Brings Game Studies

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Game Studies 6:1 is out - Jesper tells us it’s the biggest issue yet. Here’s the list of articles:

  • Nick Montfort: Combat in Context
  • Mia Consalvo, Nathan Dutton: Game analysis: Developing a methodological toolkit for the qualitative study of games
  • Rob Cover: Gaming (Ad)diction: Discourse, Identity, Time and Play in the Production of the Gamer Addiction Myth
  • Hans Christian Arnseth: Learning to Play or Playing to Learn - A Critical Account of the Models of Communication Informing Educational Research on Computer Gameplay
  • Joris Dormans: On the Role of the Die: A brief ludologic study of pen-and-paper roleplaying games and their rules
  • Thaddeus Griebel: Self-Portrayal in a Simulated Life: Projecting Personality and Values in The Sims 2
  • Charles Paulk: Signifying Play: The Sims and the Sociology of Interior Design
  • Benjamin Wai-ming Ng: Street Fighter and The King of Fighters in Hong Kong: A Study of Cultural Consumption and Localization of Japanese Games in an Asian Context
  • Jonas Heide Smith: The Games Economists Play - Implications of Economic Game Theory for the Study of Computer Games
  • Hector Rodriguez: The Playful and the Serious: An approximation to Huizinga’s Homo Ludens
  • Jussi Parikka, Jaakko Suominen: Victorian Snakes? Towards A Cultural History of Mobile Games and the Experience of Movement

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Originally posted on Grand Text Auto by nick


The First Thousand Numbers Classified In Alphabetical Order

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By Claude Closky

Eight, eight hundred, eight hundred and eight, eight hundred and eighteen, eight hundred and eighty, eight hundred and eighty-eight, eight hundred and eighty-five, eight hundred and eighty-four, eight hundred and eighty-nine, eight hundred and eighty-one, eight hundred and eighty-seven, eight hundred and eighty-six, eight hundred and eighty-three, eight hundred and eighty-two, eight hundred and eleven, eight hundred and fifteen, eight hundred and fifty, eight hundred and fifty-eight, eight hundred and fifty-five, eight hundred and fifty-four, eight hundred and fifty-nine, eight hundred and fifty-one, eight hundred and fifty-seven, eight hundred and fifty-six, eight hundred and fifty-three, eight hundred and fifty-two, eight hundred and five, eight hundred and forty, eight hundred and forty-eight, eight hundred and forty-five, eight hundred and forty-four, eight hundred and forty-nine, eight hundred and forty-one, eight hundred and forty-seven, eight hundred and forty-six, eight hundred and forty-three, eight hundred and forty-two, eight hundred and four, eight hundred and fourteen, eight hundred and nine, eight hundred and nineteen, eight hundred and ninety, eight hundred and ninety-eight, eight hundred and ninety-five, eight hundred and ninety-four, eight hundred and ninety-nine, eight hundred and ninety-one, eight hundred and ninety-seven, eight hundred and ninety-six, eight hundred and ninety-three, eight hundred and ninety-two, eight hundred and one, eight hundred and seven, eight hundred and seventeen, eight hundred and seventy, eight hundred and seventy-eight, eight hundred and seventy-five, eight hundred and seventy-four, eight hundred and seventy-nine, eight hundred and seventy-one, eight hundred and seventy-seven, eight hundred and seventy-six, eight hundred and seventy-three, eight hundred and seventy-two, eight hundred and six, eight hundred and sixteen, eight hundred and sixty, eight hundred and sixty-eight, eight hundred and sixty-five, eight hundred and sixty-four, eight hundred and sixty-nine, eight hundred and sixty-one, eight hundred and sixty-seven, eight hundred and sixty-six, eight hundred and sixty-three, eight hundred ...

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Originally posted on WFMU's Beware of the Blog by Rhizome