Posts for February 2006

New York City of Sound

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New York-based sound artist Stephen Vitiello once rented a studio on the 91st floor of the World Trade Center. For his project World Trade Center Recordings: Winds After Hurricane Floyd, he taped contact mics to the studio windows, "picking up the sounds outside of passing planes, helicopters, storm clouds and traffic, the building itself swaying in the wind."
You can listen to a short NPR piece about the project (and find other sounds here); and Vitiello was recently interviewed in Artkrush, if you want a bit more information. [....]

I read once about seismic recordings taken by Columbia University during the World Trade Center attacks of September 11th - the bedrock of Manhattan was rumbling as the two towers collapsed, and this showed up on Columbia's seismometers. These recordings were then transformed into audio files, and you could listen to the wounded, melancholic howl of Manhattan as its two tallest buildings fell to the ground. (A vaguely related story, of course, is William Basinski).

(For more on urban soundscapes see Orchestra of Bridges, London Instrument, Sound Dunes, and - an old favorite - musicalized weather events).

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This was an amazing sound piece, before 9/11, but now it's taken on this extra ghostly quality. Both before and after, I think it was one of the few audio recordings that I ever felt successfully captured a sense of what it was like to be somewhere. It was sort of awe-inspiring in the beginning--the mystery of hearing these sounds and being humbled by your sudden smallness. After 9/11, they inspire a sense of imaginary identification with the people who might have heard the same thing once, and with the space that was stirred on 9/11, despite the fact that the contact mics 'hear' quite differently than we do. Yet, it's still an opportunity for a point of 'contact.' ~marisa

PS I do actually believe that Stephen didn't rent the studio but was in there on a Lower Manhattan Cultural Council/Thundergulch residency..? If so, this would be the same residency held by Michael Richards when he passed away on 9/11...

Originally posted on BLDGBLOG by Rhizome


Net Aesthetics 2.0 panel -- February 6th

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Lauren Cornell:

Hello,

If you will be in the NYC area on the evening of February 6th, please come out for Net Aesthetics 2.0 -- a panel that will consider current expressions of Internet art in light of larger technological and social shifts. Artists Wolfgang Staehle, Cory Arcangel, Michael Bell-Smith and Marisa Olson will be in conversation with curators Michael Connor and Caitlin Jones. The panel is co-presented by Electronic Arts Intermix, and will be moderated by yours truly.

This event is open to Members and non-members.

The full release, as well as event details, can be found here:

http://rhizome.org/events/net_aesthetics_2_0/

It would be nice to meet active, NYC-based participants face to face if you can make it.

Lauren

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Originally posted on Rhizome.org Raw by Lauren Cornell


new QuickTimes & vlog

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Michael Szpakowski:

Hi
I've been making little movies since 2003 now & there's nearly 100 of them. In the meantime vlogging has really taken off, so it seems like a natural thing to present the sequence so far in this format, with any new ones I make in the meantime interspersed amongst the old.
For about the next hundred days or so I'll post pretty much everyday and afterwards as and when. You can see the first five ( two of which, 'bicycle' & ''counting -cell phone and strings remix', are new) at

http://www.somedancersandmusicians.com/vlog/ScenesOfProvincialLife.cgi

If you've enjoyed my work in the past, &/or you like what you see here, maybe you'd like to subscribe:

http://feeds.feedburner.com/ScenesOfProvincialLife

best
michael

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Originally posted on Rhizome.org Raw by Michael Szpakowski


Punching the Clock

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'Clockwork,' a documentary-style series of four short multi-channel video works by Jeanne C. Finley and John Muse, centers around the concept of time--as social ordering tool, as cultural construct, and as an intrinsic element in video art. The project features clips recorded at a dentist's office, a hair salon, a massage therapist's studio, and a teenage boys' sleepover party. Catalyzed by the viewer's voyeuristic gaze, the pieces (titled Drill, Shampoo, Massage, and Birthday) aim to 'restructure the long arc of these intimate relations, revealing otherwise invisible habits of work and play.' The images serve as indices for ideas surrounding our relationship with time, work, leisure, and self, while foregrounding the ambivalent role of technology in human culture since the dawn of the machine age. West Coast readers should make time to visit San Francisco's Patricia Sweetow Gallery before February 11. - Peggy MacKinnon

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node.london - states of interdependence

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A collaborative text written by Marc Garrett and Ruth Catlow, for "Media Mutandis: A Node.London Reader" (to be published in February 2006)

There is a Sufi fable in which a group of foreigners sit at breakfast, excitedly discussing their previous night’s exploration. One starts saying “…and what about that great beast we came across in the darkest part of the Jungle? It was like a massive, rough wall.

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Originally posted on MAzine - Exploring the potential of networked media by Rhizome


Divorce, videogame-style

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"Earthquake in Zipland" is a PC game for children with divorced parents. It's an adventure game, where the main character is torn between the King and Queen of the island, which split apart after an earthquake. The game will be out soon but meanwhile you can download a demo and watch a Windows Media video that gives you an overview

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Originally posted on Water Cooler Games by Rhizome


Breaking News That Happened The Other Day

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[....]In other news, reblogger Rick Silva collaborates with Abe Linkoln to bring you rssjockey or "the rss block party". What can I say, I like the mix. Admittedly, my opinion on this may be influenced due to the fact that I've been sampled.

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Originally posted on Art Fag City by Rhizome


Bordergames

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Technology, Games, Empowerment

Bordergames is a series of workshops, a videogame engine and an editor which allows young migrants not only to design a video game where their experiences are the main element, but also to learn the importance of taking over new technologies and using them to self organize and recover the control over their own lives and environments.

Bordergames is a working project directed to young migrants, in this first stage Moroccan teenagers living in Madrid. Our basic tenet is providing a series of tools for them to fully recover their right to their own word and expression, and doing it in a language they feel specially close to them: that of videogames.

Bordergames organizes meetings and workshops...through which the Moroccan kids discuss the stories they want to tell and then learn programming, editing and producing 3D scenarios and characters for the videogame they have decided to produce. Related: mimoSa

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Originally posted on networked_performance by jo


Pigeons that blog

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Food for thoughts for the workshop about “blogjects

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Originally posted on pasta and vinegar by Rhizome


Keith Sanborn on the Films of Guy Debord from Artforum

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Society of the Spectacle
 THE THING board member Keith Sanborn on The Films of Guy Debord from the February 2006 ARTFORUM:

RETURN OF THE SUPRESSED
Keith Sanborn

"GUY DEBORD MADE VERY LITTLE ART, but he made it extreme," says Debord of himself in his final work, Guy Debord, son art et son temps (Guy Debord: His Art and His Time, 1995), an "anti-televisual" testament authored by Debord and realized by Brigitte Cornand. And there is no reason to doubt either aspect of this judgment. While Debord has been known in the English-speaking world since the 1970s as a key figure in the Situationist International and as a revolutionary theorist, it is only in the past decade that his work as a filmmaker has surfaced outside France. One reason is that, in 1984, following the assassination of Debord's friend and patron Gérard Lebovici and the libelous treatment of both men in the French press, Debord withdrew his films from circulation. Though the films were not widely seen even in France, four of them—by the time they were withdrawn—had been playing continually and exclusively for the previous six months at the Studio Cujas in Paris, a theater financed for this purpose by Lebovici.

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