Before software was the big business that it is now, the movement of homebrew architects and DIY programmers that ended up producing today's CEO's was spurred on by counter-cultural politics, an embrace of psychedelia, and an atmosphere of artistic experimentation. It was in this context that Stewart Brand made his now famous assertion (in 1984) that 'information wants to be free.' Glasgow-based curator Will Bradley took this dictum as a starting-off point in organizing the exhibition, 'Radical Software: Art, Technology, and the Bay Area Underground,' at The California College of Art's (CCA) Wattis Institute, in San Francisco. Open now through March 24, 2007, the show's title derives from the video art journal initiated in 1970, and seems to privilege artists of the 1970s and 1980s, with a few exceptions offering 'updates' on the way in which the spirit of this movement has impacted younger artists. The show combines artworks, experimental film and video, documentary material and the artifacts of hackers and activists from these generations. Artists include Ant Farm, Artists' Liberation Front, Berkeley Community Memory, Wallace Berman, William Burroughs, Copenhagen Free University, the Diggers, Nancy Holt/Robert Smithson, Timothy Leary, Josh On, Dan Sandin, Superflex, and others. The underlying premise of the show maps the moment in which 'radical' comes to mean both political and groovy in nature. - Angela Moreno
Anxiety of Influence
Kristin Lucas, mousepad drawings.
Lucas inked a mouseball and let it make gestural drawings while she played games, answered email, etc.
Eyebeam Open Lab - mousepad paintings
Similar gesture paintings made with a USB "double mouse"
(hat tip to jim bassett--demoted from "attack of the clones" to "anxiety of influence" since the Lucas was part meat-space, part virtual and the double mouse is all virtual. it is basically the same idea, though)
Update: another mouse doing "automatic writing," by Joseph DeLappe, from '99 (thx to ed halter)
Originally posted on Tom Moody by tom moody
One of our final events in the Festival -- a panel discussion called "Open Source: On the Line" -- is taking place this Monday December 4th at the Vera List Center for Art and Politics at the New School. The discussion will explore open source practice and philosophy in programming, arts and culture, and also touch upon recent threats to its continuation. Panelists include Wikipedia pioneer Daniel Mayer, artists (and Rhizome participants) Joy Garnett and Cory Arcangel, our Director of Technology Patrick May and lawyer Laura Quilter. More details and address can be found below.
Please note there is a discount for Rhizome members, you simply need to email ticket at rhizome.org in advance if you'd like to attend so we can have your name at the door.
thank you, Lauren
OPEN SOURCE: ON THE LINE at the Vera List Center for Art and Politics at The New School Theresa Lang Community and Student Center 55 West 13th Street, 2nd floor
December 4, 2006 6:30pm
Admission: $8, free for all students as well as members of Rhizome.org and New School faculty, staff and alumni with valid ID.
This panel will explore the aesthetic and political possibilities afforded by different open source systems. Our diverse panelists will examine sites like Wikipedia, Digg.com, as well as p2p networks and social networking sites. They will also explore offline artwork, arts institutions and businesses that have sought to adopt open source models, and current challenges to the continuation of this ethos, such as 'Net Neutrality' legislation.
Panelists include: artist Cory Arcangel, Wikipedia pioneer Daniel Meyer, Rhizome Director of Technology Patrick May; artist Joy Garnett; lawyer Laura Quilter; moderated by Christiane Paul, Adjunct Curator of New Media Arts, the Whitney Museum of American Art
Originally posted on Rhizome.org Raw by Lauren Cornell
+Commissioned by Rhizome.org+
Interview with Adam Greenfield by Christina Ray
I recently met up with Adam Greenfield, author of Everyware: The
Dawning Age of Ubiquitous Computing, to discuss the book's ideas over
coffee. Everyware was published in 2006 and draws upon Adam's
background as a user experience consultant and critical futurist to
describe the subtle yet persistent diffusion of computing technology
into the landscape. Against the espresso machine hum, the cafe's iPod
shuffling through indie rock tunes, and the register jingle, we
talked about speed and convenience as the seductions that drive our
increasingly mediated reality. And we pondered the cultural,
ecological, and ethical costs of living with everyware and where we
go from here.
CR: From where we are right now, what kinds of everyware or pre- everyware can you identify?
AG: Remember when you were a kid, and you were first writing letters
to your friends, and you'd lavish a ridiculous amount of detail on
the return address? "127 North Van Pelt Street, Philadelphia,
Pennsylvania, 19103, USA, North America, Earth, the Solar System"? It
turns out that "where," in the everyware context, is a little like
that -- in order to give you an answer as to "where I am right now,"
in the sense that's most relevant to this discussion, I'd have to
specify all the situations and contexts in which I'm presently
Some of these situations are physical, and they're unfolding at a
nested series of scales. So I'm simultaneously in the United States,
and in Brooklyn, and at the given address of this cafe. And, of
course, I also happen to be in a room, and sitting at a table, and in
close proximity to an array of tools and devices at that ...
Originally posted on Rhizome.org Raw by Christina Ray
Gerald O Grady
Curated by Steina and Woody Vasulka, Peter Weibel with Thomas Thiel.
16 December 06â��18 March 2007 MindFrames. Media Study at Buffalo 1973â��1990 ZKM | Media Museum, Atria 8+9 Opening Fri, 15 December 7 p.m. in the ZKM_Foyer
"Academy" and "Art" are highly actual themes. The founding of academies and universities is a hot topic. Twentieth-century art history is, namely, not only a history of individuals, but also collectives, groups, circles, and (institutional and informal) schools. Academies and universities have made history in that they gather outstanding artists and develop a teaching program. Sites of teaching and production such as the Kunstgewerbeschule (School of Arts and Crafts) in Vienna, Bauhaus in Weimar, Dessau and later Berlin, WChUTEMAS in Moscow, Black Mountain College in North Carolina, and the Hochschule fÃ�ï¿½Ã¯Â¿Â½Ã�Â¯Ã�Â¿Ã�Â½Ã�ï¿½Ã¯Â¿Â½Ã�ï¿½Ã�Â¼r Gestaltung (Academy of Design) in Ulm have influenced and shaped the development of art just as greatly as individual creative personalities have. In the 1970s and 1980s, the Department of Media Study at the State University of New York at Buffalo became one of these places of, teaching and mediating, in the area of Media Art, developing into what was perhaps to the most influential school for media in the twentieth century. Teaching there under the leadership of the founder Gerald O Grady were the (meanwhile canonized) structuralist, avant-garde filmmakers Hollis Frampton, Tony Conrad, and Paul Sharits, documentary filmmaker James Blue, video artists Steina and Woody Vasulka, and Peter Weibel.
The significance of the Department of Media Study at Buffalo for the media age is comparable with other historical institutions influence on art history. Its ...
Originally posted on del.icio.us/cory_arcangel by cory_arcangel
here’s the secret picture blog that scott schwartz and i have been posting on for more than a month now….
the lion king
Originally posted on supercentral by cabbie
Mako is helping to organize and host an event called Digital Disobedience on cyberactivism and culture jamming this Friday with Harvard Free Culture. The event will explore the interplay between digital technologies, activism, and the ability to modify and critique cultural institutions.
Cyberactivism and Culture Jamming
Fri., Dec 1, 6pm
Science Center 110, Harvard University
(One block north of Harvard Sq T)
- Ji Lee, Artist and Creator of the Bubble Project
- J. Salvatore Testa, Defender of Truth and Liberty, Hacktivismo
- Prof. Fred Turner, Stanford University and author of From Counterculture to Cyberculture
- Prof. Carrie Lambert-Beatty, Harvard VES Dept., teaching Art and Activism since 1989: Culture Jam
The format will be interactive with short presentations from the speakers and then break-out groups to discuss thoughts and questions with the presenters. We may even venture to do some culture jamming of our own afterwards...
Originally posted on Computing Culture by Rhizome
jihui Digital Salon
in cooperation with The Project Room@Chelsea Art Museum
by Shu Lea Chang
Saturday, Dec. 2, 2006 - 2:30-3:30 PM
Chelsea Art Museum
556 West 22nd Street
New York, NY 10011
Free with museum admission.
Shu Lea Cheang will discuss "BabyLove," the second installment of her "Locker Baby Project," in the context of her work. "BabyLove," currently on view at the Chelsea Art Museum, is a mobile wifi installation that consists of 6 large size teacups -- auto-mobile units modeled after teacup rides found on old-time playgrounds -- with 6 "clone babies." The clone babies, inspired by Ryu Murakami's novel Coin Locker Babies, are each adorned with a locker key, an LED display with a random locker number and wifi connection. Love songs uploaded by the public via the Web are coded as "memory and emotion" (ME) data for the clone babies and can be retrieved and jumbled by museum visitors who take a teacup ride with the baby clones. Navigating the teacup, visitors shuffle and rearrange the love songs in the baby engine through their choice of direction and the variation of speed. Mixing nostalgia for a seemingly simpler age with network technologies, "BabyLove" explores the Internet's impact on cultural practices.
Shu Lea Cheang works in the field of net-based installation, social interface and film production. Her net art / installation works have been commissioned and permanently collected by the Walker Art Center, MN ("Bowling Alley," 1995); NTT[ICC], Tokyo ("Buy One Get One," 1997); and the Guggenheim Museum ("Brandon," 1998-1999). Since 2001, she has been engaged in the three-part Locker Baby project - "BabyPlay" (NTT[ICC], 2001), "BabyLove" (TMOA, Taiwan, 2005), "BabyWork" (to be realized). Her web-based public performances include "Garlic ...
Originally posted on Rhizome.org Raw by Christiane Paul
Digital Arts and New Media (DANM) Technical Coordinator