Posts for January 2008

Open Source Video snstncntnr.1 at 21 Grand's 8th Annual T-10 Video Festival, Oakland, CA

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Adam Trowbridge, a video artist and graduate student in Electronic Visualization at the University of Ilinois at Chicago released the source code of his video "snstncntnr.1" (standing for "sensation containers") as an open source video work last November. The video from which the source code came is premiering at 21 Grand's 8th Annual T-10 Video Festival in Oakland, CA this Saturday, January 12th. His innovative approach to video incorporates the concept of open source computer code and conceptual and text art of earlier decades. The EDL format is related to the technology that allows so-called "family friendly" DVD players to edit out scenes in Hollywood movies. Trowbridge has taken the technology as an opportunity to create open works. He has launched a website, www.snstncntnrs.org, to highlight works made using all or part of this source code. "I am interested in creative communication where people can collaborate without attempting to transmit an idea," said Trowbridge, "I am hoping this will spark a different form of interaction."

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Originally posted on Rhizome.org Announcements by Rhizome


Stan VanDerBeek-Symmetricks (1972)

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From Channel 53, the video blog of artists John Michael Boling and Javier Alberto Morales. "Symmetricks" is a prime example of experimental filmmaker Stan VanDerBeek's computer-generated animations. Quotation below from the original YouTube entry:

"A computer-created animation of high speed stroboscope mandalas with molecular-like energy. The surprise of this film is the color produced from the strobing black and white symmetrical images. Done with an electronic stylus on a special computer at MIT. This film demonstrates the possible use of the computer interacting with the graphic artist" - Stan VanDerBeek

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Originally posted on channel 53 by Rhizome


Cold Media

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Norwegian photographer Christian Houge's large-scale photographs explore the terrain of an electronic utopia put "on ice." The artist's "Arctic Technology" series richly conveys the impacts of technology on one small town's landscape and people. It was at the age of 11 that Houge first visited Barentsburg on a snowmobile vacation. The Russian coal-mining outpost (Population: 800) sits on an island between Greenland and the North Pole called Svalbard ("Cold Land"). The communist-era Soviets found the region a perfect location on which to install antenna fields, satellite receivers, and a range of other equipment in order to study scientific phenomena under pristine conditions. Houge, in effect, repeats this effort in returning to document the equipment and the lives of those who dwell near these now-abandoned monuments to telecommunication. Working to excavate details about a place virtually trapped in the 1970s, the artist exploits the properties of his medium by creating haunting long-exposure panoramic night photos and, by day, ventures into the schools and workplaces of the residents. On a local level, Houge's photos create a portrait of one community's survival under harsh conditions. On a broader scale, the work speaks to a moment in history when technological imperatives trumped the impetus to preserve natural landscapes, while outlining the forms that the residue of this drive etch into the earth. Images from "Arctic Technology" will be on view at New York's Hosfelt Gallery through February 16. - Marisa Olson



Image: Christian Houge, Dawn, 2003

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Completion of Diary of a Star, by Eduardo Navas

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Image of The Andy Warhol Diaries, taken by Eduardo Navas, December 2007

Image source: Diary of a Star

I've completed Diary of a Star, a blog project that appropriates the Warhol Diaries. Even though I did not initially contextualize this project as a remix, it certainly is one. Here's an excerpt of my definition of Remix as a cultural practice:

The remix will always rely on the authority of the original song. When this activity is extended to culture at large, the remix is in the end a re-mix that is a rearrangement of something already recognizable; it functions at a second level: a meta-level. This implies that the originality of the remix is non-existent, therefore it must acknowledge its source of validation self-reflexively. In brief, the remix when extended as a cultural practice is a second mix of something pre-existent; the material that is mixed at least for a second time must be recognized otherwise it could be misunderstood as something new, and it would become plagiarism. Without a history, the remix cannot be Remix....

Similar to sampling in music remixes, I selected diary entries from Warhol's Diaries. The way they are recontextualized as a blog allows for the online user to recognize the aura of Warhol, as well as the autonomy of the work as an allegorical piece of art. To accentuate this autonomy, the comments I made are separated from Warhol's entries, thus the user can come to terms with allegory as a naturalized strategy of the everyday.


[CONTINUED]

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Originally posted on Remix Theory by navasse


Atom / Electric Mo0ns

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Atom

Atom (image above, video below) and Electric Mo0ns, two aspects of the same developed interactive system, are a stunning performance and installation created by Christopher Bauder, Till Beckmann, Holger Pecht and Robert Henke. In Atom:

Performance for a matrix of 64 gas balloons, lights, and sound.

A room is filled with deep, evolving noises from a four-channel sound system. An eight-by-eight array of white, self-illuminated spheres floats in space like the atoms of a complex molecule.

Through variable positioning and illumination of each atom, a dynamic display sculpture comes into being, composed of physical objects, patterns of light, and synchronous rhythmic and textural sonic events. Change, sound, and movement converge into a larger form.

The height of the helium balloons is adjusted with a computer-controlled cable, whilst the internal illumination is accomplished using dimmable super-bright LEDs, creating a pixel in a warped 8×8 spatial matrix.


[LINK]

Click the above link for video footage of a performance of "Atom" on Network Research's blog. Visit the team's website for further images and documentation: http://www.electricmoons.com/

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Originally posted on Network Research by Rhizome


Masters of Manipulation

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The term "manipulation" comes to mind when discussing the vast and varied practice of artists LoVid (Tali Hinkis and Kyle Lapidus). For years now, the duo have created an impressive, diverse body of handcrafted video work, spanning from performances, installations and tapestries to sophisticated image processors. Their creative image and sound distortion is deeply informed by the work of a previous generation of video artists, not only luminaries like Nam June Paik and Steina and Woody Vasulka, but also the lesser known creators of image processors and synthesizers such as Dan Sandin (of the Sandin Image Processor) and Dave Jones. This influence is pronounced in LoVid's wearable image processor Coat of Embrace and pseudo minimalist sculptural instruments such as Sync Armonica. In their most recent work, a Turbulence Networked_Music_Review commission, Hinkis and Lapidus took a new approach to manipulation. Rather than create an elaborate machine from scratch, they transformed the physical constraints of the web and a home computer into a vehicle for distortion. More of the Same (2007) starts simply enough: a single pop up window, a photograph of the artists and their broken laptop, and a few lines of dialogue, ("What's up with this computer? Is it the browser? The connection?")- and from there multiplies exponentially with each successive pop up window. Window #1 loads one image and one audio file, window #2 multiplies the image and loads the audio twice, and on and on until your computer is simultaneously trying to load 514 audio files to sometimes cacophonic, sometimes eerily silent ends. Don't worry about your processor, the artists give thoughtful instructions to avoid any serious computer crashes. - Caitlin Jones

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Interview with Alessandro Ludovico (Neural Magazine)

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Alessandro Ludovico is a media critic and editor in chief of the highly respected Neural magazine from 1993, (Honorary Mention, Prix Ars Electronica 2004). He is the author of several essays on digital culture, he co-edited 'Mag.Net Reader' (1 and 2). He's one of the founding contributors of the Nettime community, one of the founders of the Mag.Net (Electronic Cultural Publishers)' organization and he teaches 'Computer Art' and 'Interface Aesthetics' at the Academy of Art in Carrara.

I think that's more than enough for a sole man.

Not for him apparently. Not only does he wear great t-shirts*, he also collaborates with UBERMORGEN and Paolo Cirio on artistic projects which have toured the world: GWEI - Google Will Eat Itself (Honorary Mention Prix Ars Electronica 2005, Rhizome Commission 2005, nomination Prix Transmediale 2006) and Amazon Noir (1st prize Stuttgarter Filmwinter 2007, Honorary Mention Share Prize 2007).

When I met him several years ago, i also realized that i had no chance of ever winning the contest for the "Nicest person in the new media art world." Sigh!



[CONTINUED]

Interview with new media luminary Alessandro Ludovico from art blog We Make Money Not Art. Ludovico was commissioned as part of UBERMORGEN for the Rhizome 2006 commission Google Will Eat Itself

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Originally posted on we make money not art by Rhizome


"28 Years In the Implicate Order" by Pascual Sisto (2004)

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love this



Single channel video loop by artist Pascual Sisto entitled "28 Years In the Implicate Order". Description below from a September 2007 screening by Screening in Philadelphia, PA.

Pascual Sisto's "28 Years in the Implicate Order" is a work based on the concepts of Quantum Theory and Quantum Mechanics. The video consists of a fixed locked off shot of an empty parking lot. A centered sodium vapor light illuminates the desolate landscape. Twenty-eight red balls bounce up and down in a chaotic, random manner-- each ball performing as an individual entity bouncing at its own rate and speed. As the video progresses towards its mid point, the balls align themselves in a single synchronized bounce, only to resume bouncing in a random manner.

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Originally posted on del.icio.us/lauren_cornell by lauren_cornell


Reflections on the Future

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Footprints Into the Future, a group exhibition running through February 25th at Venice's Palazzo delle Arti Napoli, poses an interesting question. Curated by PAN's Julia Draganovic and Tseng Fangling of the Kaohsiung Fine Arts Museum-Taiwan, the show assumes that an artist's desire is to innovate, or to find a singularly unique form of expression. The challenge addressed is that of developing "a form of creative innovation that takes into account the cultural heritage, tradition, and all that contributes to the making up of a people's identity." In other words, how can one reflect and acknowledge the past, while focusing on treading into the future? This is, ultimately, a media change question: One must understand the forms of expression that have come before in order to adapt to new ones. Appropriately, the show is the third in PAN's exhibition cycle devoted to the theme of "Challenges" and, for this installment, the curators have selected twelve Taiwanese artists. The group draws on the aesthetics and rituals of their primarily Buddhist and Taoist culture in order to create "a fully contemporary language." Among the included projects are interactive installations by Hsiao Sheng-chien and Lu Mu-jen, and mangas drawn by Hung Tunglu and positioned in lightboxes among traditional spiritual symbols. Lin Shu-min's "Inner Force" is a playful meditation on the concept of "mindfulness." Two viewers face each other and see lotus-shaped projections of their monitored brain waves on the floor. The viewer who is most relaxed yields the most flowers. Projects like these distinguish the question of respectful innovation from classically unanswerable Buddhist "koans." They make clear that artists, of all people, are capable of finding beautiful new ways of inviting history to repeat itself. - Marisa Olson



Image: Hung Tunglu, Padmasambhava, 2002

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January 2008 on -empyre- soft-skinned space: Stations, Sites and Volatile Landscapes

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January 2008 on -empyre- soft-skinned space:

Stations, Sites and Volatile Landscapes

http://www.subtle.net/empyre

with Naeem Mohaiemen, Katherine Carl, Srdjan Jovanovic Weiss, Nat Muller and John Haber

In the wake of the post-war situationists, the seventies Moebius-strip concept of site/non-site initiated a dynamic of ironic play as if subjectivity and the art object interpolated freely, to project a new participatory space. On offer was a new kind of public transgression, produced at ground level. Post 9/11, new media is after the net. What follows in the traces of the site/non-site? Globalization inflects locality through branding, privatization and glamour from the top down. The ubiquity of digital tools as integrated circuitry within hypercapitalism and war opens onto an ethical problem for media arts-- how to extend free modes of encounter: here sites become stations.

Please join us!

Subscribe at http://www.subtle.net/empyre



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Another important and timely thematic discussion by -empyre-. Visit the original Rhizome post for each participant's full biographic information.

Originally posted on Rhizome.org Recent Discuss Posts by Christina McPhee