Since its first appearance in 2002, Hektor has been exhibiting internationally on several occasions, drawing a lot of attention from both the contemporary art and technology worlds. Hektor, the brainchild of artist Jurg Lehni, is a portable spray-paint output device for laptop computers that brings together graphics and artificial intelligence. Although consisting only of two motors, toothed belts, and a can holder, Hektor replicates the motion of a graffiti artist's hand, producing formally engaging work. In Hektor's rare live actions, one notices the contrast between the low-tech dimension of the mechanism and the high aesthetics of its production, which grants a poetic quality to its existence. This can be witnessed next Thursday at the New York's Swiss Institute, which will host a 6-hour event in which Hektor meets Dexter Sinister, a duo known for their just-in-time workshop that collapses design and printing production into an anti-corporate activist process. Hektor will create a series of wall paintings in the Swiss Institute gallery and other areas informed by the 'Lissajous curves', a term mathematician Jules Antoine coined in 1857 to describe the graph of the equations that define complex harmonic motion. In an evening reuniting the ild trio of machines, humans, and mathematics, a re-imagining of the present visual culture will thus take place through the timely collaboration of Hektor and Dexter Sinister. - Miguel Amado
Saturday, September 15, 2007
2:30pm - 4:00pm
61 Metropolitan Avenue
Brooklyn, NY 11211
Rhizome presents this panel, in conjunction with Conflux, New York's annual festival for contemporary psychogeography, the investigation of everyday urban life through emerging artistic, technological, and social practice. The panel centers on sousveillance, the practice of watching from below (sous-) rather than above (sur-). A diverse group of artists whose work engages surveillance will explore the cultural and political implications of sousveillance, which tends to be discussed as empowering when manifest as a "taking-back" of cameras or the rising-up of "little brother," but which also unfolds in an era of increased self-surveillance, encouraged by both the government and the culture of participatory and 'transparent' media.
Originally posted on Rhizome.org Raw by Marisa Olson
The following are two installation works by HC Gilje concerning networks of some shape or form. Both are interactive works however while the second employs the classic interactive paradigm (user -> interact -> system -> feedback), the first is an interactive system of computers, nodes, which interact with each other to form a collaborative composition.
Drift (images above, video below), sometimes called Drifter, is a twelve monitor audio-visual installation. Each monitor is a node in a wireless network chain:
12 nodes, each with a computer, flatscreen and speakers, are placed in a circle. The nodes are connected over a wireless network, but each node only relate to its neighbour: It knows when a image is coming and knows where to pass it on to. Images travel clockwise across the network. The images leave traces. The image and traces are processed in realtime individually on each node and a sound is generated from the video, based on a given frequency. There are 4 base frequencies for the sound distributed among the different nodes, creating chords.
Below is a video explaning how the work functions. [More....]
Originally posted on Network Research by Rhizome
September 2007 on -empyre- soft-skinned space: “Critical Spatial Practice” :: Moderated by Renate Ferro (US) and Tim Murray (US) with Millie Chen (Canada/US), James Way (Japan/US), Catherine Ingraham (US), Kevin Hamilton (US), Alice Micelli (Brazil/Germany), Maurice Benayoun (France), Teddy Cruz (US), and Markus Miessen (UK/Germany).
Critical Spatial Practice entails the claiming of social responsibility at the intersections of art, geography, architecture, and activism. How might critical approaches to space and place empower creativity, enhance artistic activism, and encourage artistic practice and collaboration? The alignment of criticality with cyber configurations of space permits especially creative skins of networks, resources, and discussions whose resulting configurations range from texts and performances to buildings and installations.
Originally posted on networked_performance by jo
Superfund365, A Site-A-Day, by Brooke Singer, is an online data visualization application with an accompanying RSS-feed and email alert system. Each day for a year, starting on September 1, 2007, Superfund365 will visit one toxic site currently active in the Superfund program run by the U.S. Environmental Protection Agency (EPA). We begin the journey in the New York City area and work our way across the country, ending the year in Pearl Harbor, Hawaii. In the end, the archive will consist of 365 visualizations of some of the worst toxic sites in the U.S., roughly a quarter of the total number on the Superfund’s National Priorities List (NPL). Along the way, we will conduct video interviews with people involved with or impacted by the Superfund program. Because content changes frequently at Superfund365 (everyday to be exact!), be sure to visit often or use the subscribe tools to have content delivered to you.
Superfund365 is conceived, designed and produced by Brooke Singer. The programming and Flash guru behind the project is John Kuiphoff. Kurt Olmstead provides business analysis and additional programming. Emily Gallagher is assisting with project research and EPA relations. Camera and sound work by Andrew Rueland.
Brooke Singer is a digital media artist who lives in New York City. Her work provides entry into important social issues that are often characterized as specialized or opaque to a general public. She likes to work with emerging technologies not only because they are fun but also because they are contingent and malleable. She is co-founder of the art, technology and activist group, Preemptive Media, and Assistant Professor of New Media ...
Originally posted on blog.bsing.net by Rhizome
To mark the occasion of what would be John Cage's 95th birthday, WNYC has put together an amazing collection of audio and video from their archives. Video of seminal performances, interviews with the artist, as well as a few oddities including his appearance on the 1960s show 'I’ve Got a Secret' are posted along with writings by the composer. Cage collaborators including Joan LaBarbara, Meredith Monk, and Merce Cunningham also share their stories and insights into Cage as both a collaborator and friend. The festival airs on WNYC2 from September 5th at 12PM until 12:33PM September 6th, with video, audio, and textual documents available on their website. - Caitlin Jones
“Jeff Feddersen, author of EarthSpeaker, is an artist with a well rounded background, mainly specialised on the dynamics (nowadays pretty blended) between music and informatics. His favourite subjects of research are nature and the technologies developed around energetic sustainability. EarthSpeaker is a set of outdoor installations (sculptures) which interact with and within the environment by grabbing solar energy during daytime and releasing sound emissions from sunset on. Jeff’s project is funded by the Wave Farm in Acra (New York), and the first prototype of EarthSpeaker was built in 2006 at Eyebeam Center labs. Thanks to his ‘nocturnal audio sculptures’, he seems to put up a sort of robotic representation of life-environment interaction and its seemingly simple cybernetic cycle. Just like the vegetal system, EarthSpeaker absorbs solar power thanks to the built-in solar panels and releases amplified VLF (very low frequency) sounds coming from outer space lightening and human generated waves (i.e.: geophones) by its own integrated speakers. A complete input/output cycle exploits the invisible and infinitesimal capabilities of our environment, redefining at the same time its semiotic borders through new representations of life.” Tony Canonico, Neural.
Originally posted on Networked Music Review by jo
Ed. note: There are PDFs here of several interesting papers on locative media, written for the Locative Media Summer Conference, just concluding at Universitat Siegen.
Originally posted on Purse Lip Square Jaw by Rhizome
back from bulgaria with a book for people to read:
An interesting online artist book/ manifesto. ~mo
Originally posted on supercentral by Rhizome
pacman (video) by Johnson Perkins.
From the artist's site: "These films use different geometric constructions, created using set mathematic patterns. These patterns merge into each other and are looped, creating a mesmeric and hypnotizing effect. The movement of forms creates a form of moving painting and draw heavily on the modernist presidents and principles of Structuralism and Minimalism, sharing links in style to the works of: Kandinski, Malevich and Mondrian."
Originally posted on VVORK by Rhizome
Digital Arts and New Media (DANM) Technical Coordinator