Posts for June 2006

Lemur - Robotic Musical Instruments

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LEMUR is a Brooklyn-based group of artists and technologists developing robotic musical instruments. Founded in 2000 by musician and engineer Eric Singer. Here are a couple of their instruments and I recommend checking out the videos on their site of them all in action.

!rBot

!rBot is a mollusk-like structure made of leather, aluminum and steel. A mechanical system of cams and levers powered by two motors opens and closes !rBot's shell. As the shell opens, a platform holding a shaking percussive rattle protrudes from the robot's interior, receding again as the shell closes.

TibetBot

A robotically controlled percussive musical instrument that creates both atonal rhythms as well as tonal droning soundscapes. The instrument is based on the tones produced by three Tibetan singing bowls struck by six robotic arms, two per bowl.

GuitarBot

GuitarBot, is an electrified slide guitar that is versatile, responsive, capable of fast and slow playing, easy to control, with high-quality sound, modular and portable. Its purpose is to extend, not simply duplicate, the capabilities of a human guitarist.

via make

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Originally posted on Interactive Architecture dot Org by Ruairi


When Ghosts Will Die

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Stories Stitched Together "on the fly"

When Ghosts Will Die, a performance-installation that utilizes multi-sensory elements such as sound, video, light, and text controlled by motion-tracking technology, tells the story about the dangers of nuclear proliferation. Inspired by the play, "Copenhagen", by Michael Frayn, it explores the use of non-linguistic elements in the service of making poetry and telling stories. The artists and programmers involved on the project include Steve Gibson, Dene Grigar, Will Bauer, Jim Andrews, and John Barber.

"When Ghosts Will Die" involves one-two performers and envisions the space as a 3D grid simultaneously within a central computer and a physical performance space. The performers move through this environment and evoke the multi-sensory elements with hand-held tracking devices and in so doing interact with these elements through three potential phases of nuclear proliferation: 1) Disharmony, 2) Destruction, and 3) Disintegration. These three phases are intended to evoke the first nuclear explosion, the "Trinity" test in New Mexico on July 16, 1945, that took place just weeks before the nuclear bombs exploded over Hiroshima and Nagasaki, Japan.

Using the tracking device, the performers can move through the space choosing the element they wish to utilize for telling the story. In this way, the story takes on a rhapsodic quality: it is literally stitched together "on the fly" and changes wtih each telling. The mood of the space is designed to match the phase that the performers reach. Disharmony, for example, offers slightly discordant sounds that increasingly give way to cacophony, as well as video footage representing growing belligerence. Destruction sees the dropping of the bombs and corresponding sounds of buildings falling into rubble. The final phase, Disintegration, takes performers to the motif of the work: that the destruction derived from these weapons will be so complete that even "ghosts ...

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Originally posted on networked_performance by jo


Algorithms and Karaoke Ponds: Alice Eldridge

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My recent travels to Budapest for EvoMUSART 2006 brought me in contact with artists from around the world who are using technology in creative ways. One of those people is Alice Eldridge, an artist, musician, and researcher from England. Alice works with interactive music systems, incorporating evolutionary computing techniques, AI, and other scientific techniques. 

Her website, ecila.org, features a variety of music clips, and descriptions of her live performances. Pictured above is Self Karaoke Pond:

"I got a bit frustrated with some 'interactive art' which didn't let you do very much. So this piece is an audio installation which makes the visitor create all the samples and then 'remixes' them using a generative system."

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Originally posted on Processing Blogs by Rhizome


DVblogH4ck

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jimpunk:

DVblogH4ck

http://dvblogh4ck.blogspot.com/

QT rem:x of DVblog.org videos


nato1_ 414 Ko
nato2_ 644 Ko
WilliamWegman-StevMartin 1258 Ko
H4ckthefrenchdemocracy 62 Ko
subterranean_ 486 Ko
gijoe10.html 550 Ko
journey 190 Ko
mygeneration 949 Ko
maltese_falcon 1128 Ko
Stare02_ 180 Ko
coffee_and_cigarettes_ 270 Ko
essen_dortmund_lederhosen_ 236 Ko
gta_lego_city 766 Ko
attack_ofthe_50ft_woman 815 Ko
trooper 614 Ko
1947 546 Ko

NEED QuickT:me SEVEN


http://dvblogh4ck.blogspot.com/atom.xml

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Originally posted on Rhizome.org Raw by jimpunk


CFP: Curatorial Proposals for LEF exhibition at CAA, Dallas, 2008

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Eddie Shanken:

The Leonardo Education Forum (LEF) seeks curatorial proposals for an exhibition that will include, but not be limited to, work by members of LEF and/or CAA. The exhibition will coincide with the College Art Association annual conference in Dallas, February 20-23, 2008. Exhibition is eligible for $10,000 award from CAA plus another $5000 for a catalog. Curator will work with LEF Chairs to identify and confirm venue and submit proposal to CAA.

Please submit 250 word statement describing the exhibition's theme, any special or timely significance, and proposed artists/works. Any suggestions for venues or additional sources of funding or in-kind support would be helpful. Please send proposal via e-mail by July 15, 2006 to Edward Shanken and Andrea Polli, LEF Vice-Chairs. E-mail lefexhcaa2008 "at" artexetra.com.

More information about LEF: http://mitpress2.mit.edu/e-journals /Leonardo/isast/events/leonardocaa.html

More information about this CAA exhibition opportunity: http://www.collegeart.org/opportunities/listing/659/

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Originally posted on Rhizome.org Raw by Eddie Shanken


ISEA

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Jacki Morie:

Artists are invited to submit work for a specially created area of the online community Second Life (www.secondlife.com) to be shown during the International Society for Elctronic Arts's 2006 Conference in San Jose, CA. Full call at
www.ludica.org.uk/NewWest

Artists are invited to submit work for a specially created area of the online community Second Life (www.secondlife.com). Second Life (SL) art must be created within SL, using easy-to-learn modeling tools. Textures can be made in paint programs and uploaded to the SL world for use. Ideas will be accepted approximately one-two months before the conference date. Artists will be instructed how to set up their own avatar in SL, and given parameters for the actual artwork creation. All work will be due before the conference to allow the jurors time to adequately examine and interact with the works. Criteria will include orginality, skill, aesthetic qualities, and interaction. Example images will be posted here in the near future. This competition is hosted by the game collective, Ludica, with support from Linden Labs, makers of Second Life.

The best of show will be on display at the San Jose Mueum of Art throughout the ISEA Conference.

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Originally posted on Rhizome.org Raw by Jacki Morie


AREA Infrastructure Talk#2 (6.12.06): S.European HackLabs, Intellectual Property + Internet Activism

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Join the discussion!

INFRASTRUCTURE SERIES : "Hackmeeting and Hacklabs: technopolitics and reality hacking in south-european autonomous networks"

Presenter: Xabier Barandiaran - Series Talk #2 Monday June 12, 7-9pm Polvo - 1458 W. 18th St. 1R | Chicago IL | www.polvo.org Co-Sponsored by AREA Chicago Art/Education/Activism and
CriticalArtWare www.areachicago.com | www.criticalartware.net

Details Below: Title and Abstract of the talk Short Bio of Xabier Barandiaran About the INFRASTRUCTURE SERIES

Title and Abstract of the talk: "Hackmeeting and Hacklabs: technopolitics and reality hacking in south-european autonomous networks"

For the last 6 years a number of autonomous collectives called HackLabs (hacker or hacktivist laboratories) have been created at different squat social centers and other self-managed spaces around europe. The network of hacklabs has now more than 40 nodes (most of them located in Spain and Italy) dedicated to build-up community based free-software and open access spaces for skill sharing and collective intelligence, technopolitic experimentation and direct action on several digital struggles (cybercontrol, digital rights, intelectual property, etc.). HackLabs were born as a result of Hackmeetings: underground self-organized hacktivist meetings where grassroot activist and geek culture meet to discuss, exchange and coordinate different knowledge, resources and initiatives around technologies and politics. The talk will focus on a set of trajectories within the hacklabs and hackmeeting networks: the experience of Metabolik (one of the first hacklabs in europe), the distributed and self-managed organization of spanish and european hackmeetings and the recent direct action campaing against intellectual property (CompartirEsBueno.Net). Emphasys will be made on philosophical background, discussion on technopolitical tactics and opportunities for coordination.

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Originally posted on Rhizome.org Raw by ryan griffis


Call for Participation: IEEE Visualization 2006

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Call for Participation
IEEE Visualization 2006

Art Exhibit Submissions
Information visualization is traditionally viewed as a tool for data exploration and hypothesis formation. Because of its roots in scientific reasoning, visualization work has, until recently, been limited to a role of analytical tool for sensemaking.

In recent years, however, both the mainstreaming of computer graphics and the democratization of data sources on the Internet have had important repercussions in the field of information visualization. With the ability to create visual representations of data on home computers, artists and designers have taken matters into their own hands and expanded the conceptual horizon of infovis as artistic practice.

In its first edition, the InfoVis Art Exhibit examines the merging of artistic intention and visualization technique. We are looking for artwork that reveals data patterns in aesthetic, innovative ways. The goal of the exhibit is to steer viewers towards greater introspection about what information is worth visualizing and why.

The InfoVis Art Exhibit will consider the following types of work:

interactive CD/DVD-ROM work interactive web-based work printed artwork Requirements

Interactive pieces should run on a standard computer configuration (Windows Operating System, 512 MB RAM, 20 GB hard drive, 1024 by 768 pixels monitor resolution) as such systems will be available at the exhibit.

[more...]

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Originally posted on Rhizome.org Raw by Greg Smith


The Re:Project tracks deja vu experiences by mobile phone

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La-Reproduction-Interdit_me.jpg The Re:Project is a technological probe and visual database of recounted moments of deja vu experienced by you.

Signs planted around San Francisco pinpoint exact locations of previous moments of deja vu, and are color coded in relationship to which type of phenomenon occurred there. On each Re:Project sign is a URL and GPS coordinate.

By using a mobile phone, you can text message your location and any relevant information/ description of your experience to the URL provided.

This catalogues your deja vu experience, and connects you to the Re:Project community, where you receive text message notifications of the deja vu phenomenon as they occur around the city.

Each text message includes the location of the occurance and a statment or question, which is meant to challenge your established understanding of the site and provoke a new, or at least different, view of your environment.

Have you experienced Deja Vu? if so, take this survey.

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Originally posted on textually.org by emily


Remote

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From Installation to Itinerary

Remote--Plimsoll Gallery, Hobart, Tasmania; 3-23 June 2006: 'Remote' brings together artworks by five artists that connect the local and global through digital media --Susan Collins (UK), Pete Gomes (UK), Derek Hart (UK/Tas), Nancy Mauro-Flude (Tas/Netherlands) and Martin Walch (Tas).

These artists explore their relation to the real world and their works demonstrate how that transaction might be constituted today when any firm sense of presence (real space) and immediacy (real time) is exacerbated by technologies that problemmatize notions of nearness and remoteness, such as the televisual, tele-communications and global positioning systems. What is a common point of departure for all is a confounded sense of place and proximity. The resulting inventory includes screen and projection-based moving image work, webcast transmissions, site-specific interventions and locative media.

Curated by Vince Dziekan (Monash University, Melbourne), the exhibition's distinctive scenography is characterised by its distribution across the Plimsoll Gallery and its surrounding environment. This incorporation of other locales in the immediate proximity of the Centre for the Arts into the overall sweep of the 'expanded' exhibition results in the transformation of the exhibition from being experienced as an installation into something more likened to an itinerary.

This is further supported by the addition of a locative media artwork by the artist/curator created specifically to direct and focus the exploration of this broader 'ecology' of spaces. The work promotes the mobility and agency of the viewer by linking distributed media contents to a series of locational markers that situate this narrative across the 'in-between' spaces of the exhibition.

The exhibition experience is supplemented and extended by an exhibition website, designed by Superbia. Extensive information about the artists and inventory is available, plus descriptions regarding the exhibition's scenography and locative media aspects. Two essays have been ...

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Originally posted on networked_performance by jo