Posts for February 2007

Timo Kahlen

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Ephemeral Media

left : "Media Dirt", 2004. Sound installation based on ephemeral, interfering radio waves at KIASMA National Museum of Contemporary Art in Helsinki, Finland // right : "UR", 2006. Net art / interactive sound piece. Courtesy Ruine der Kuenste Berlin.

Sound and media artist Timo Kahlen (*1966, living and working in Berlin) has been nominated for the German national "Sound Art Prize 2006". He has been working with immaterial and ephemeral media (light, sound, wind, radiation) for more than twenty years. As part of his nomination, he has been invited to present selected sound installations at the Ruine der Kuenste Berlin, at the Skulpturenmuseum Glaskasten Marl and at the "SoundART 2006" special exhibition of the ART COLOGNE fair. For a detailed documentation of his experimental work see http://www.staubrauschen.de/soundsc.htm

From April 27 - April 29, 2007, a new selection of web-based, generative sound works by Timo Kahlen will now be presented at "The Sonic Image": 2007 Totally Huge New Music Festival Conference in Perth (AUS). These include "Sound Drift" (2005 in collaboration with Ian Andrews) and "ping tschae tschae" (2005) and, for example, "UR" (2006).

For 2007, Timo Kahlen is currently preparing exhibitions in Berlin, Chemnitz and Milano.

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Originally posted on networked_performance by jo


A Mix Tape of Music-Based Videos

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On the steps of St. Paul's Cathedral in London, Dutch artist Jeroen Offerman is singing Led Zeppelin's 'Stairway to Heaven.' He's singing it backwards. As everybody knows, the song in reverse is all about devil worship--though it takes a moment to notice, watching the video of his uncanny performance, because the movie is running backwards in its own right, rendering the lyrics more-or-less intelligible again. Welcome to the strange and spectacular underground of artist-generated music videos--a realm as far removed from the eye candy of MTV as machinima is from 'Toy Story'--and the subject of a mesmerizing show curated by Berin Golonu and Julio Morales at the Yerba Buena Center for the Arts in San Francisco. Inside a hipster-luxe viewing pod, custom designed by Seattle architect Kyu Che, viewers can lie down for hours, collectively browsing a global selection of world-class music-driven video art. The works range from Singapore artist Ho Tzu Nyen's over-the-top rendering of Queen's 'Bohemian Rhapsody' as a courthouse melodrama to Los Angeles artist Eamon Ore Giron's sound-bending experiments with record players and blowtorches. The underlying thesis here is that there are no underlying theses: Without market pressures (yet) from Hollywood or Chelsea, each collaboration is sui generis. And given the DIY origins of the medium, and the mix tape inspiration, audience participation is naturally part of the show, through an online version of the exhibit on YouTube to which everyone can contribute. 'Underplayed' runs through March 4 at Yerba Buena Center for the Arts. - Jonathon Keats

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New Criteria for New Media

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An argument for redefining promotion and tenure criteria for faculty in new media departments of today's universities.

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Originally posted on del.icio.us/network/marisaolson by trebor


Video Blog Roundup

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Jill Greenberg on Coolhunting

Zefrank vs. Duchamp

HD Vidblog #119 on DV Blog

Let’s Exercise,Cook & Paint Venus! Part 3

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I recently added this nice blog to my feeds. Sometimes their posts are more artsy (it's run by a couple of great new media artists) and sometimes more about music and fashion. Not a bad combination... ~mo

Originally posted on TouchExplode by Rick


NOEMA

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IDEAS

Identity, Transformation, and Digital Languages: a conversation with Ali Zaidi Antonio Pizzo: Motiroti is a London based international arts organisation founded by Ali Zaidi and Keith Khan in 1996. Zaidi describes himself as Indian by birth, Pakistani by migration and British by chance. Together with his art companion, he has been working with traditional art craft and new digital media in public events and performance. They have growth steadily during the years, and they were commissioned the Commonwealth Section of the Queen's Jubilee Parade in London on 2002. Now they are a well know art organization and, after Khan left, Ali Zaidi is the only artistic director. His work has always being about identity and cultural displacement, confronting a world that struggle against globalisation and homologation. The way he approaches art blurs the boundaries between films, theatre, performance, and it rather focuses on the communality of the experience. Most of the time he makes a heavy use of digital technology, bringing out what one could call digital communal performance.

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The Creative Common Misunderstanding by Florian Cramer: Whatever stance one may adopt, the name "Creative Commons" is misleading because it doesn't create a commons at all. A picture released, for example, under the Attribution-ShareAlike license cannot legally be integrated into a video released under the Attribution-NonCommercial license, audio published under the Sampling License can't be used on its soundtrack. Such incompatible license terms put what is supposed to be "free content" or "free information" back to square one, that is, the default restrictions of copyright - hardly that what Lawrence Lessig, founder of the Creative Commons, could have meant with "free culture" and "read-write culture" as opposed to "read-only culture." In his blog entry "Creative Commons Is Broken," Alex Bosworth, program manager at the open source company ...

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Originally posted on networked_performance by jo


Interview with Takashi Matsumoto

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0takashimatsumoto.jpgI met Takashi Matsumoto in a charming village somewhere in the Swiss Alps for the Collaborative Artefacts Interactive Furniture workshop. He was presenting a very exciting object called Z-agon, a small cube which is in fact a video player. Each face of the cube is an high-res display for multi-media contents (video). I then started to follow from afar the activities of the Keio University and discovered so many nice projects that i asked him if he'd have time to answer a few questions. Somehow, between a laptop battle, his research and maybe a couple of turntable sampling he managed to find a couple of hours to unveil what he and the other designers in his laboratories are working on.

Can you tell us a few words about you? How did you get to work at Okude Lab? What is your role there?

First of all, I am really happy to get an interview for WMMNA! I am checking the feed everyday.

I am now a Ph.D. student of Keio University, Media Design Program and I belong to Okude Lab. In Shonan-Fujisawa Campus (SFC). I am designing user interfaces for network-based mobile gadgets. Those designs aim to provide simple embodied interactions for everyday objects to access web resources and to make our everyday lives more entertaining. My research interest is to produce an integrated design between hardwares, systems and business models for such devices.

My works like Z-agon and Pileus are futuristic but trying to be fit into a market right now. In my teenage years, I was living in Shibuya, a big commercial district in Tokyo. I have been watching how industries drop marketing to us, and I was aware of that there was a big chasm between product planning, marketing processes, and real user needs. So ...

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Originally posted on we make money not art by Rhizome


Sarai Presentation

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The Scalable City by Sheldon Brown

The Scalable City: An Artist's Presentation by Sheldon Brown :: 4:30 P.M., Wednesday, 7 February 2007 :: Seminar-Room, Sarai-CSDS, 29, Rajpur Road, Civil Lines.

Sheldon Brown, Director of the Center of Research in Computing and the Arts and Professor of Visual Arts at the University of California San Diego, will discuss and demonstrate his current project - The Scalable City. The Scalable City is an interactive extrapolation of the cultural condition arising from the interaction of users, data and algorithms. As our world becomes increasingly characterized by this equation, we find ourselves inhabiting the artifacts of these relationships. The Scalable City generates its urban environment via the choreography of these artifacts.

Brown's work in general examines the relationships between mediated and physical experiences. This work often exists across a range of public realms.

The Newsletter of the Sarai Programme, 29 Rajpur Road, Delhi 110 054. Info: dak[at]sarai.net. Directions to Sarai: We are ten minutes from Delhi University. Nearest bus stop: IP college or Exchange Stores. See Calendar and Newsletter online:

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Originally posted on networked_performance by jo


reactable: visual, interactive synth

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[imajes] brought this sweet project to my attention. The table is reactive thanks to the combination of a projector and a video camera below the surface. The position and unique pattern of each block on the table is used to manipulate the operations of the synth. The software is open source - so you can build your own. (And it'll run on linux, mac and windows) Check out the videos for a good demonstration. I'm thinking that one of these could be built on a budget using lumenlab/overhead LCD technology.

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Originally posted on hack a day by Will O'Brien


Art as Mediation : Panel Discussion at New School

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Randall Packer:

Art as Mediation
Thursday, February 15, 2007, 6:30 - 8:30 p.m.
The New School, Michael Klein Room
66 West 12th Street, 5th floor
New York City
Admission: $8, free for all students as well as CAA attendees and New School faculty, staff and alumni with valid ID

Art as Mediation explores how communications and new media are increasingly employed in the arts to engage, connect, and empower global audiences in times of crisis. The panel features artists, theorists, writers, thinkers and critics from different backgrounds, and is moderated by artist Randall Packer.

As ruptures from world crises deepen, more people look to alternative models for exchange and mediation. Technological means have recently surfaced in the arts that successfully bridge social, cultural, and political differences. Different disciplines come into play, in questioning, challenging, and experimenting with social and political change. How do artists, curators, and theorists use telecommunications technology proactively? How do peer-to-peer networks, on-line social spaces, and blogs lead to participation and empowerment? How are artists using electronic systems to reposition the notion of dialogue and to define dialogue as mediation that counters or disrupts stereotypes and dangerous ideologies?

Panelists: Steve Dietz, curator and Director, Zero-One, San Jose, CA Carin Kuoni, curator and Director, Vera List Center for Art and Politics, New School, New York Drazen Pantic, internet activist, Co-Director, Location One, New York Jon Winet, artist and Professor, University of Iowa

Moderator: Randall Packer, artist, Assistant Professor, Department of Art, American University, Washington D.C., Secretary-at-Large, U.S. Department of Art & Technology

Presented on occasion of the College Art Association's 95th Annual Conference in association with the New Media Caucus. --

-- Randall Packer Assistant Professor, Multimedia Department of Art American University, Washington DC Secretary-at-Large, US Department of Art & Technology

Web: http://www.zakros.com US ...

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Originally posted on Rhizome.org Raw by Randall Packer


Visualizing Memory in Architecture

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Chicago-based artist Lincoln Schatz has been drawing attention with his large-scale generative art installations that visualize memory. The artist has recently been commissioned by Dallas developer Billingsley Company to create one of the largest new media works ever installed in a public space. Due to open on March 29, Schatz's Collision of Memory will be a permanent installation that flanks each side of the entrance to the elevator area of One Arts Plaza, a $125 million multiuse structure, the first of four residential and office buildings on over 10 acres at the eastern edge of the Dallas Arts District. From that moment onwards, two high definition cameras will record the edifice's lobby activity, on a daily basis, during a minimum of 8 years. Selected according to specific chance operations, segments of the footage will be displayed on two 9 x 9 foot video walls in four overlapping layers: one from the last two minutes and three from a distant time period. While standing between the two screens, viewers will see themselves along with visual memories of that place. Continuously washing over one another in painterly portraits of individuals and the surrounding environment, these images relate past and present in uncanny ways, creating a non-linear impression of history. - Miguel Amado

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