Posts for September 2006

Call for Proposals:Beall Center for Art and Technology

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David Familian:

The Beall Center for Art and Technology seeks projects of high artistic merit that use technology in innovative ways. We offer honorarium and project costs of up to $20,000, to realize the project in our 2500 sqf space. We are also interested in collaborating with other institutions to fund projects of larger scale. We are currently soliciting proposals for exhibition years 2007 and 2008. The proposals will be reviewed in November of 2006 by the Beall Center Curatorial Review Committee, and artists notified in early Winter of 2007.


The Beall Center produces exhibitions and performances in the visual arts, theater, dance, and music, and particularly seeks works that successfully integrate new forms or uses of technology with artistic production or performance. In addition, as the Beall Center has an exceptionally well- developed and flexible infrastructure, and knowledgeable staff that is found in very few art and technology centers, preference will be given to works that can not easily be displayed or performed elsewhere.


[Click-through for full guidelines.]

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Originally posted on Rhizome.org Raw by David Familian


Lewis LaCook - The Ghosts of Colors

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the ghosts of colors
The Ghosts of Colors (2006, 1MB, 29 sec)

Lewis LaCook is often brilliant & never less than interesting.
Here’s a new movie from him.
He says:
EVP is short for electronic voice phenomena; these are purportedly
“otherworldly” sounds audible only via magenetic tape.
They are often cited as evidence of the supernatural.
Some of the sounds heard in this video are culled from
paranormal research archives.

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Originally posted on DVblog by michael szpakowski


Sol LeWitt on New Materials

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New materials are one of the great afflictions of contemporary art. Some artists confuse new materials with new ideas. There is nothing worse than seeing art that wallows in gaudy baubles. By and large most artists who are attracted to these materials are the ones who lack the stringency of mind that would enable them to use the materials well. It takes a good artist to use new materials and make them into a work of art. The danger is, I think, in making the physicality of the materials so important that it becomes the idea of the work (another kind of expressionism).
Sol LeWitt, "Paragraphs on Conceptual Art"

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


bitforms: Rafael Lozano-Hemmer

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529 West 20th Street, 2nd Floor

212-366-6939

Chelsea

September 15 - October 21, 2006

Opening: Friday, September 15, 6:00PM - 8:00PM


Rafael Lozano-Hemmer, Eye Contact, (detail), 2006, Lambda print, Video with LCD screen, Edition of 5, 60 �� 40 inches


Lozano-Hemmer's work taps into the technology of data-networks, robotics, sensors, cell phones, projections and other custom-made devices to create "connective, participatory experiences," in which several realities co-exist. Playful, yet always provocative, his installations have been praised for creating platforms for group experience rather than individual interfaces for solitary participation.

Shown for the first time, Close up and Third Person are part of the Shadow Box series that builds up on Lozano-Hemmer's concepts developed in Under Scan, and in which passers-by activate portraits in their own shadows. Each of the pieces features a high resolution, 30-inch diagonal, interactive display, made of steel and black anodized aluminum and including a built-in computerized tracking system. Close up creates the viewer's image with hundreds of tiny videos of other people who have recently looked at the work. When a viewer approaches, the system automatically makes a video. Up to 800 recent recordings are simultaneously triggered inside the viewer's silhouette, suggesting a schizoid experience where people's image sets off a massive array of surveillance videos. In Third Person, the interactive display draws the viewer's portrait in real time with hundreds of tiny words, which are all the English and Spanish verbs conjugated in the third person. In addition to these two pieces, the exhibition will include a video of Lozano-Hemmer's critically acclaimed, large-scale public art installation, Under Scan, along with Under Scan Portraits (Lambda print), and a book of signature of the 800 people who participated in this project.

ARTIST'S TALK: Tuesday ...

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Originally posted on ArtCal by Rhizome


ALL ABOUT EVE

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<img src="http://www.evehurford.com/allabout/images/eveworking.jpg" /><p>Originally trained as an architect, Eve Hurford began transforming spaces in 1995 in the Berlin club scene with slide projections: dazzling and thought-provoking visual environments, loaded with entertainment and irony. Since then she has produced custom slide and video installations for clients ranging from Love Parade to the Berliner Philharmoniker, designing visuals for both the walls of the Bundeskanzleramt and for illegal venues. Recent exhibitions have been sight-specific constellations of monitors, mirrors and projections addressing themes of urban change and playing visual tricks with the real architecture. Eve Hurford lives and works in Berlin.</p><img src="http://www.evehurford.com/allabout/images/total.jpg" />

  <p class="rb_attribution">
<span class="rb_source">
    <a href="http://www.evehurford.com/f-allabout.html">Originally</a>
                from <a class="rb_source_link" href="http://del.icio.us/tag/vj">del.icio.us/tag/vj</a></span>

                by <span class="rb_author">kkrueger</span>

<span class="rb_reblogged">

reBlogged

                by <span class="rb_reblogger">artificialeyes.tv</span>


                on <span class="rb_modified">Sep  2, 2006,  6:30PM</span>
    </span>
</p>

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Originally posted on artificialeyes.tv reblog by Rhizome


[ Connecting ]

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VS.jpg

In the work Connecting, Victoria Skogsberg recreates a popular ‘psi’ experiment that tests the possibility of receiving messages from the subconscious. In the ‘real’ experiment the ‘receiver’ is situated in a sound proof room, seated on a comfortable reclining chair wearing headphones and large black glasses. White noise is played continually through the headphones and the glasses, equipped with stroboscopic lights, are programmed to emit red flashes into the eyes which allow the body to relax. Skogsberg’s re-creation contains similar props to the real experiment but takes place in what seems like a domestic environment excluding the apparatus and technical equipment we would assume to belong in such a place. Her image suggests that with the right state of mind and a few simple tools it may be possible for anyone to connect to a higher realm.

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Originally posted on VVORK by Rhizome


Retro-now-ism

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Pop culture's current obsessions with 'reality' television and fictional 're-enactment' coincides interestingly with debates currently transpiring in the new media community regarding the nature of simulation. Some argue that many digital media both reference real events and surpass them by presenting images or experiences that never really happened. This confluence of ideals has triggered a number of special publications, listserv discussions, and exhibits on re-enactment. Most recently, the show, 'Playback_Simulated Realities,' open through November 5 at Oldenburg's Edith-Russ-Haus fur Medienkunst, seeks to investigate 'the influence and impact re-enactments and simulations have on society,' raising 'questions about the function of... substitute worlds developed in computer games' and discussing 'the yearnings for authentic experience which are also addressed in reconstructions of past eras.' The show includes a number of artists who are, themselves, quite legendary, including Ant Farm and T.R. Uthco, Christoph Draeger, Omer Fast, Lynn Hershman, and Eddo Stern, among others. Each selection carefully constructs a symbiotic relationship between the simulated scenario and the media employed in these (re)constructions. The organizers argue that 'the works shown in the exhibition examine... how experiences and memories are at once individually experienced and culturally construed,' thus reminding each of us of our binding role in these mediated charades. - James Petrie

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Retro-now-ism

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Pop culture's current obsessions with 'reality' television and fictional 're-enactment' coincides interestingly with debates currently transpiring in the new media community regarding the nature of simulation. Some argue that many digital media both reference real events and surpass them by presenting images or experiences that never really happened. This confluence of ideals has triggered a number of special publications, listserv discussions, and exhibits on re-enactment. Most recently, the show, 'Playback_Simulated Realities,' open through November 5 at Oldenburg's Edith-Russ-Haus fur Medienkunst, seeks to investigate 'the influence and impact re-enactments and simulations have on society,' raising 'questions about the function of... substitute worlds developed in computer games' and discussing 'the yearnings for authentic experience which are also addressed in reconstructions of past eras.' The show includes a number of artists who are, themselves, quite legendary, including Ant Farm and T.R. Uthco, Christoph Draeger, Omer Fast, Lynn Hershman, and Eddo Stern, among others. Each selection carefully constructs a symbiotic relationship between the simulated scenario and the media employed in these (re)constructions. The organizers argue that 'the works shown in the exhibition examine... how experiences and memories are at once individually experienced and culturally construed,' thus reminding each of us of our binding role in these mediated charades. - James Petrie

http://www.edith-russ-haus.de/

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Originally posted on Rhizome News by Rhizome


VIBRA: AUDIO LIMA EXPERIMENTAL

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lima.gif

First Contemporary Sound Art Festival in Peru

First-time ever contemporary sound art festival in Peru: VIBRA: AUDIO LIMA EXPERIMENTAL :: The festival will comprise exhibits, concerts, lectures and workshops, to be held from August to November 2006. The festival's main goal is for Lima to become an audio and sound documentation experiences centre that spreads out and links together diverse ways in which we listen to our surrounding world. The festival's activities will focus around the importance of sound in our lives and in artistic creation. Renowned art critic Jorge Villacorta curates the festival and its activities.

Centro Fundacion Telefonica and Alta Tecnologia Andina presents VIBRA: Audio Lima Experimental festival, the first major event dedicated to contemporary sound art ever organized in Lima. It will comprise exhibits, concerts, lectures and workshops, to be hold from August to November 2006. Art critic Jorge Villacorta curates the festival and its activities.

VIBRA: Audio Lima Experimental will turn Lima into an audio and sound documentation experiences centre that spreads out and links together diverse ways to listen to our surrounding world. The festival's activities will focus around the importance sound has in our lives and in artistic creation, and will reinforce the concepts of art, science and the new technologies.

[More....]

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Originally posted on networked_performance by jo


on bad digital art

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Pall Thayer:

Hi, I'm going to see if I can get back into this. The responses have
been great and I'm glad it sort of came back a bit after withering
away. I'm not exactly sure any more why I posted the original, but I
had good reasons at the time. So I'm going to see if I can get back
into "the mode". It had something to do with previous discussions
about Internet art being dead or old or whatever we're calling it
these days. So I began wondering why such a young medium, still in
its infancy really, could be dying and came to the conclusion that
perhaps it's being misunderstood. Perhaps when people think that
Internet art is a "been there, done that" sort of thing, they're
talking about something that was at one time perceived to be Internet
art but wasn't in the sense that it was somehow related, but the
primary medium was actually something entirely different. I used the
terms "technology" and "digital" because I'm sure they suffer from
the same problems, but I was primarily thinking about Internet art
because, hey, that's my thing. I think also, that in the
technological, digital and Internet realms of contemporary art, a lot
of people are trying to do too much too soon and this is something
that is put forth so well in the Sol Lewitt excerpt re-blogged on
Rhizome's front page yesterday that it should be repeated over and
over again so here it is again:

"New materials are one of the great afflictions of contemporary art.
Some artists confuse new materials with new ideas. There is nothing
worse than seeing art that wallows in gaudy baubles. By and large
most artists who ...

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-excerpt from conversation on digital art on Rhizome's email list RAW -- For full thread: http://www.rhizome.org/thread.rhiz?thread=22573&page=2#43998

Originally posted on Rhizome.org Raw by Pall Thayer