YOU_ser: The Century of the Consumer at the ZKM in Karlsruhe invites the visitor to become an integral part of the art works. This episode is one in a series of videos about the exhibition which features works (among others) by Jeffrey Shaw and Peter Weibel (YOUbilaums Browser), Monika Fleischmann and Wolfgang Strauss (Netzspannung.org), PIPS:lab (Luma2solator), Catalina Ossa and Enrique Rivera (MULTINODE_METAGAME), and Armin Linke (Phenotypes / Limited Forms). At the beginning and the end of the film you also see the light installation “Space Invaders” by Rainer Kehres and Sebastian Hungerer. ZKM | Media Museum, Karlsruhe, January 6, 2008. The exhibition runs until the 6th January 2009.
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The Beall Center for Art & Technology, at the University of California-Irvine, has recently commissioned an ambitious installation entitled, in a thousand drops... refracted glances. The work was created by Aleksandra Dulic, Martin Gotfrit, and Kenneth Newby, members of the Computational Poetics Research Group, a collective of artists, engineers, and scholars based at Vancouver's Simon Fraser University. The premise of their work is that by creating new tool sets and scenarios for "interdisciplinary computational media performance," they can "enable creative and performing artists to enter into new collaborative relationships with encoded systems." The installation's title comes from a passage German philosopher Johann Gottlieb Fichte (1762-1814) penned in 'The Destination of Man" which speaks to the life force that flows from nature through our bodies, bonding humans to each other, as it helps us self-actualize. "In a thousand drops... refracted glances" features multiple audio channels and digital collage (a la David Hockney's "joiner" photocollages). The space is strung with over a hundred monitors, hung like a mobile. The fragmented images displayed on each screen, when viewed from the right angle, form a "complete" picture. These images are pulled from a database in response to sensor data about viewers' presence and movement. The "big picture" in this work is really the artists' narrative about diversity. The question of the completeness versus fragmentedness of individuals' identities has long amused existentialists, but the query has been given new life in a world of high tech engagement. To this discussion, the artists wanted to bring a consideration of diversity and its vitality to a healthy culture, arguing that the diversity represented in the compartmentalized images seen on their screens reflects the diversity found in nature and humanity. The corresponding audio installation seeks, literally, to bring viewers into 'harmony' with what might otherwise look ...
ARTISTS LIGHT THE SKIES OF HELSINKI
HeHe : Nuage Vert
22-29 February 2008, Salmisaari, Helsinki, 5pm to 10pm
At the end of February, Nuage Vert (Green Cloud), a large-scale environmental installation by artist duo HeHe, will be visible in the skies above Ruoholahti in central Helsinki.
Nuage Vert uses the chimney emissions of the Salmisaari power plant as a canvas for illumination. The installation consists of tracking, drawing and projecting a laser image onto the contour of vapour, adjusting its shape and size to the current levels of electricity consumption by the residents in Ruoholahti and neighbouring Lauttasaari. During the event, residents will be asked to consume less, to un-plug their electrical appliances to make the green cloud grow. The chimney and emission are an environmental sculpture and a community measuring tape, but there is an irony here: Nuage Vert aestheticises an icon of industrial pollution while seeking to draw the viewer's critical attention to it. By becoming a sign of wonder, a spectacle, a terrible beauty, a space is opened up for the viewer.
"There's an aspect of the larger scale of the works- as far as physical size is concerned- which is simply about putting the works on an experiential par with paintings and other large scale pictures. I didn't want the digital-ness of the pieces so tied to the experience of a personal computer, because ultimately the ways in which technology affects the way we view and process images- my main interest- extend way beyond the computer screen. So the scale is partially a gesture towards saying this is about more than personal computers, the internet, or video games."
January 26: ART WIKIMARATHON
Location: ANYWHERE, EVERYWHERE!
Saturday, January 26
Approx. 12-8PM EST (9A-5PM PST)
There's a lack of art/artist information on Wikipedia, and we're often too busy to find the time to contribute. In response, we're setting aside one day for a crew of people to collectively drop serious knowledge into Wikipedia about art: from your favorite notable artwork, artist or exhibition, to our soon-to-be-famous peers. We'll also add structural links to alumni, schools and categories such as collective art groups, non profit orgs, etc.
Participants include: Eyebeam Senior Fellows Steve Lambert and Michael Mandiberg; Marisa Olson, Bennett Williamson, Joe DelPesco aka Mr. Collective Foundation, and Jamie Wilkinson. EVERYONE IS WELCOME!
IRC: irc.gimp.org #artwikimarathon ([irc://irc.gimp.org/#artwikimarathon link])
AIM: join chat: artwikimarathon
For more information: ART WIKIMARATHON
Originally posted on Eyebeam News by bexta
In 2000, electronic musician Kim Cascone proclaimed the emergence of a discernable "post-digital" genre, using the example of 'glitch music,' through which artists crafted "deconstructive audio and visual techniques" to test the limits and possibilities of their software. Cascone points to this tendency as the harbinger of a conceptual shift in art practice, in which "...the medium is no longer the message...specific tools themselves have become the message". Over the past few years, "post-digital" disassembly has run parallel to a more widespread interest in dismantling and refiguring analog technologies. Many of the artists selected for this year's Netmage, an international electronic arts festival held in the castle Palazzo Re Enzo in Bologna, Italy, reflect this direction. The live audio and visual performances slated for the three-day event, which kicked off yesterday, demonstrate a variety of methods by which artists work with and through analog hardware. TONEWHEELS, by sound artist Derek Holzer and media artist Sara Kolster, is inspired by the peculiar electronic music contraptions of the early 20th Century. Revolving see-through tonewheels form the locus of the performance, whose unwieldy movement across the lens of an overhead projector activates sound and visuals through light sensitive circuitry. The open exposure of the technology used in TONEWHEELS demystifies its inter-workings, revealing how rudimentary most systems are. Media artist Luka Dekleva, sound artist Miha Ciglar and musician Luka Princic draw on analog video feedback techniques in FeedForward Cinema, a project in which the trio perform distortion generated by a feedback loop between two video devices. Similarly, audio/visual group Demons (Nate Young, Steve Kenney, Alivia Zilich) produce stark, mind-bending analog video feedback alongside bleak, resonating soundscapes eminating from damaged vintage synthesizers. The overall jarring effect recalls 1960s psychedelia, yet is stripped of its joyful exuberance and deeply cognizant of the anger ...
Are you still sticking with those New Year's resolutions you made a few weeks ago? Jeffrey Beaumont is just getting started. The NY-based creative writer has embarked on a Year of Hyperliving, his first-ever New Year's resolution. Described by him as "A maximalist approach to living right," Beaumont is taking a quasi-Zen approach to mindful situationism, and blogging heavily about it. Each week, this year, he will take on a new task--difficult ones he'd not ordinarily face, like trying to write a poem a day or talking to a stranger everyday and trying to make that conversation meaningful--which is, admittedly, how this writer discovered his project. His diary entries about these experiences are humble and easy to identify with, given their openness about the difficulties of carrying through on the week's commitment. So far, they've also been fruitful to readers, who this week have been cashing-in on his effort to "Make a different themed 60 min. cd mix each day." Next week Beaumont is abstaining from aural pleasure. His (Working) Manifesto of Hyperliving 2008 explains that his goal is to overcome his interrelated fears of commitment and failure and we wish him the best of luck. If you'd like to keep up with Beaumont's weekly tasks, visit his blog and subscribe to his Google calendar. - Marisa Olson
CTM.08 Unpredictable :: Festival for Adventurous Music and Related Visual Arts, Berlin :: Generator.x 2.0: Beyond the Screen :: 24 Jan - 2 Feb, Ballhaus Naunynstrasse / [DAM] Berlin
Generator.x and Club Transmediale announce the opening of Generator.x 2.0: Beyond the Screen, a workshop and exhibition about digital fabrication and generative systems. Bringing together artists and architects who use computational strategies to produce new types of objects and spaces, the project is a hands-on laboratory for experimentation and exchange of knowledge.
The workshop starts Thursday 24 Jan at Ballhaus Naunynstrasse and culminates in the exhibition opening at [DAM] Berlin (Saturday 2 Feb). There will also be an evening of live audiovisual performances, featuring alva.noto ("xerrox"), Keiichiro Shibuya and Alexander Rishaug, Marius Watz.
Full list of Generator.x 2.0 events.
Originally posted on Networked Music Review by helen
Rick Grierson makes music with his mind. He has put together a mashup of MAX MSP / MAX PRO and EEG to create an application which lets you compose music with the power of your brainwaves alone. Awesome.
Originally posted on Protein® OS - by willprotein
::danube telelecture REMIXING CINEMA : Future and Past of Moving Images with Lev MANOVICH and Sean CUBITT - stream now available ::
TOPIC: Remixing Cinema: Future and Past of Moving Images
Cinema as a visual phenomenon has accelerated increasingly over the last decades. Technical achievements at the material level like new participatory models driven by the melting of Internet, Databases, TV and Cinema are setting new standards and bringing a new dynamic to the black-box of the movie theater. Remixing, Coding, Remapping, and Recombination of visual manifestations are revolutionizing the narrative form of film - new societal phenomena, like the VJ scene, generate immersive viewing spaces and new forms of moving image distribution. The domain of video, film, computer and net-based installations stands on the threshold of a material revolution: do they bring a new aesthetic? Revolutionary possibilities in camera and projection techniques offer increasingly faster development cycles that also allow for innovative image languages. New historical perspectives of the cinematic revue coalesce with innovative interpretations of our visual consumer culture and foretell future developments. What can be expected ... what are the consequences?
Lectures and debate with:
Sean CUBITT, Australia: "Immersion, Connectivity, Conviviality"
Lev MANOVICH, USA: "After Effects, or Invisible Revolution"
Introduction Oliver GRAU
Moderated by Michael FREUND (Der Standard)
A video stream of two lectures and a debate by cinema historian Sean Cubitt and new media artist and academic Lev Manovich from November 2007. The talk considers the aesthetic implications ushered in by technical advancements simplifying the moving image recombination process.
Originally posted on Rhizome.org Recent Discuss Posts by Christiane Paul