Posts for January 2008




In 2008, TRANSIT LOUNGE becomes an experiment in remote collaboration, as 15 artists work between Berlin, Brisbane, Perth, Melbourne, Sydney, on the evolution of a complex, emergent structure. The platform for this trans-disciplinary exchange is the TRANSIT LOUNGE website, powered by open-source, wiki software. An organic structure, the site grows in multiple directions as the content is layered and interlinked, tracing remote interactions and local interventions between artists. The latency of these dialogues across time zones and locations creates feedback loops (local interventions- web- local interventions) opening up spaces for mistranslation resonating between the different cities.

The multitude of inputs, exchanges, and disruptions will be distilled in an exhibition which opens at PROGRAM BERLIN on the 31st January, 2008 to coincide with transmediale.08. Here the variations will continue to multiply as the process is augmented by the actions of visitors to the space.

TRANSIT LOUNGE is a project by Katie Hepworth and Miriam Mlecek and involves the following artists:

Chris Bennie (Brisbane), Bianca Calandra (Berlin), Robert Curgenven (Berlin), Cat Hope (Perth), Tanja Kimme (Melbourne), Somaya Langley (Berlin), Sarah Last (Muttama), Silvia Marzall (Berlin), Ben Milbourne (Melbourne), Michael Prior (Melbourne), Lynda Roberts (Melbourne), Jodi Rose (Berlin), Sumugan Sivanesan (Sydney), Anna Tautfest (Berlin)


Program Gallery
Invalidienstr 115
10115 Berlin

Vernissage: 19:00, 31.01.08
Opening Times: 14-19:00, 01.02.08-06.02.08

TRANSIT LOUNGE is a partner event of transmediale.08 CONSPIRE and would like to thank the Australia Council for their support.

For more information, please refer to


Originally posted on Announcements by Rhizome

new hypertext: a little show of hands


The latest version of hyperrhiz: New Media Cultures (Winter ‘07, 04) hit the webstands recently, and in it you’ll find “a little show of hands,” a short story adaptation excerpted from my adaptive hypertext novella “a show of hands.” The story continues focuses on a Mexican-American family in Los Angeles and the forces that pull them into the Immigration Reform march of 2006.

For this issue of Hyperrhiz, editor Helen Burgess has focused on electronic literature, including works from Thom Swiss, Braxton Soderman, Stephanie Strickland and Cynthia Lawson Jaramillo, Jaka Zeleznikar, Michael Peters, and Jeanne Hamming. Notably Strickland and Lawson Jamarillo’s “slippingglimpse” presents a 10-poem meditation, exploring ocean patterns through images, interaction, and text.


“a little show of hands”

This short hypertext features some changes from the original version. It tells the story of Katrina de la Palma, a Mexican-American girl, struggling with her life and new child in Los Angeles. Readers can pursue hypertextual links to explore vignettes in her relationship with Chino, her lover, and with her mother.

Although this version presents merely a portion of the overall novella, readers should be able to get a sense of the adaptive hypertext system that runs “a show of hands” and how it functions to sustain coherence even with fairly radical reader movement through the text.

(More on “a show of hands” here)



Mark Marino of Writer Response Theory published his hypertext novella entitled "a show of hands" in the new issue of Hyperrhiz on electronic literature.

Originally posted on WRT: Writer Response Theory by (Writer Response Theory)

31 Days


Oakland-based painter Chris Ashley makes beautiful digital drawings that both reaffirm and challenge notions of "internet art". His works are crafted in HTML and live primarily on the internet, the native environment of the HyperText Markup Language. In this context, the images constructed are not translated into single image files like JPGs or GIFs; they live as visualizations of the code that defines them. But these visualizations have also recently been celebrated offline, as prints, and it is in this scenario that Ashley is able to show what one might call post-internet net art. For his new online exhibition, I Made This For You, the artist has made a different image for every day in the month of December. It seems fitting that Ashley's images, which recall the visual language of modernity, architecture, optical illusions, and web-based tables, would present his work in the grid-like, nominally time-based structure of a calendar. His intention is that the prints of these images will be hung in such a fashion, adding an air of site-specificity to works that emerged from a largely ephemeral space. For now, the richly colorful drawings are on the web at Marjorie Wood Gallery, the online art space founded by Bay Area photographer and installation artist Chris Komater which regularly commissions new internet-based visual and literary art works. After perusing the month of December, as Ashley envisions it, net art fans might travel back in time through the gallery's excellent archive. - Marisa Olson


You Are Here- Center for Land Use Interpretation on Vimeo


from bree edwards on Vimeo.

This is the introduction to Matthew Coolidge's presentation "Points of Disinterest in the Gulf Coast Region", in which he contextualized the Center for Land Use Interpretation.

You Are Here was a conference that was held at the Aurora Picture Show in Houston,Texas on November 30 and December 1, 2007. The program was curated by Bree Edwards in collaboration with the Cynthia Woods Mitchell Center for the Arts at The University of Houston and featured leading contemporary artists and curators exploring the interplay between art and geography, activism and cultural studies.


One of five videos from the mapping and tactical media conference You Are Here. Click through curator Bree Edwards's videos for talks by filmmaker Matt McCormick, curator Nato Thompson, and artist John Henry from the collective the Institute for Applied Autonomy.

Originally posted on by cecimoss

Desire in Digital


Pornography was one of the internet's earliest forms of content and has arguably propelled the development of online imaging and video formats. Consistently the net's most financially viable material, the heavy presence of online porn has also contributed to the social formation of desire. Despite the growth of Porn Studies as an academic field of inquiry, creative and intellectual studies of digital porn are scarce. Digitalia: Intimacy in the Hyperreal is a group exhibition curated by Evan J. Garza at Houston's Deborah Colton Gallery to address this gap. Artists Charles Cohen (pictured), Graham Guerra, Tracey Emin, Daniel Handal, Sean Johnson, Steven Miller, Ray Ogar, Alexander Reyna, and Robert Yarber present work drawing on the broad spectrum of online sites of desire, moving beyond the hardcore to also consider internet dating services, social networking sites, and even instant messaging applications in order to articulate the role of these technologies in constructing intimacy, and the shape that these shared connections might take. Underlying the show's organizational logic is an interest in questions of reality as they relate to the supposed intangibility of the electronic currents and pixels that comprise the source material at hand. But just as theorists have demonstrated the corporeal aspects of fantasy, the work selected for Digitalia ultimately points to an important sense of materiality in relation to web surfing, image downloading, and other aspects of situational voyeurism. If intimacy is about the space between people, Digitalia carves out a markedly poignant space for considering the libidinal realities of digital culture. The show is open January 12-March 1, 2008. - Marisa Olson


sinks and fountains


from jeremy awon on Vimeo.

video of applet written in processing:

i turned highlights between colors off to capture this (because seems to ignore alpha channels?):

each pixel is walking through an array of colors, with constant acceleration after an initial speed given by a noise function on (x,y). areas where colors appear look like fountains to me, areas where they disappear like sinks.

Cast: jeremy awon


Originally posted on Processing Blogs by Rhizome

New Tube


Like it or not, the "blue chip" art world is far too often focused on events in New York City, Venice, or the locale of the art fair du jour. Enter New Art TV , an online "channel" that provides contemporary art content to the web. Creator Robert Knafo, who used to be a writer and editor of various art and culture magazines such as Slate, Art in America and GQ, was also the brains behind another online art project Studio Visit. Launched this past summer, New Art TV is host to numerous mini-documentaries (5 to 15 minutes) including interviews with artists, curators, and collectors, exhibition walk-throughs-- notably a few from the 2007 Venice Biennale-- and documentation of several performances. A wide range of artists are represented, including Bryan Zanisnik, William Anastasi, Richard Serra and Dana Schutz, to name a few. Media art is covered here somewhat proportionally to its presence within contemporary art: currently marginal but growing. For example, New Art TV conducted an extensive interview with multi-media artist Rafael Lozano-Hemmer, who has mounted evocative works that combine light, video and surveillance technologies, during his installation at the Mexican Pavillion in Venice, as well as a profile of the Bryce Wolkowitz Gallery at Scope Art Fair in Miami which focuses on new media art in the art fair context. Of course, this isn't the only online channel that seeks to capture contemporary art. Vernissage TV , for one, has provided coverage with a great degree of success for the past few years. Despite the slant towards the blue chip art work and the lack of contextual information which might aid those unfamiliar with the subject matter, New Art TV is a strong entrée into a group of online art vlogs that are connecting those without geographic or VIP access to ...


Ruth Ron - WallFold


Ruth Ron is an architect and interactive media artist. She has done a number of interactive installations bridging telecommunications technologies and architecture, many of which are focused on dematerializing architectural structures such as transformative walls, walls that turn into windows, windows into views of remote spaces. She is currently a visiting Professor at the University of Florida, below is her recent WallFold piece, you can see many more of her projects here.

Ruth describes WallFold as a "Physical Sculpture" that tries to generate an ambiguous spatial condition. Smooth and flexible folds between inside and outside, open and close. The space thus becomes continuous and dynamic. The installation uses six pairs of servomotors connected by flexible bands to create a smooth surface. The motors alternate between two positions (0 degrees, 180 degrees), stretching the binary ON/ OFF positions into a continuous transition, a whole grayscale or gradient between 1 and 0."


Originally posted on Interactive Architecture dot Org by Ruairi

MATRIX II: LED Installation


JANUARY 17, 2008 THROUGH MAY 4, 2008

Erwin Redl: MATRIX II is the premiere showing of the artist's theatrical scale light-emitting diode (or LED) artwork since it was acquired by MCASD in 2007. This room-size work offers viewers a space that seems to recede in all directions, as if the walls were mirrored. Floor-to-ceiling and wall-to-wall, the room is filled with grids of phosphor green LEDs, creating an immersive web of light.


Announcement of Erwin Redl's LED installation MATRIX II at the Museum of Contemporary Art San Diego. See below for an excerpt from the artist's statement.

My work reflects upon the condition of art making after the “digital experience.” The formal and structural approach to various media I employ, such as installation, CD-ROM, internet and sound, almost requires binary logic, because I assemble the material according to a narrow set of self-imposed rules which often incorporate algorithms, controlled randomness and other methods inspired by computer code.

Since 1997, I have investigated the term “reverse engineering” by (re-)translating the abstract aesthetic language of virtual reality and 3-D computer modelling back into an architectural environment by means of large-scale light installations. In this body of work, space is experienced as a second skin, our social skin, which is transformed through my artistic intervention. Due to the very nature of its architectural dimension, participating by simply being “present” is an integral part of the installations.

Originally posted on Unidentified Sound Object by Rhizome

Signed and Numbered


On January 18, Northwestern University's Block Museum of Art, located 15 minutes north of Chicago, will open an exhibition of major value to those with an interest in the relationship between art, technology, and design. Imaging by Numbers: A Historical View of the Computer Print surveys the work of over 40 international artists who have, since the 1950s, worked with computers to make drawings and fine prints. The show emphasizes artists who have penned their own code or collaborated with engineers to create custom programs for the production of images. The very concept of "drawing" is tested in works such as Ben Laposky's and Herbert Franke's photos of electronic wave forms (here the electronics do the drawing and the artist documents it), and the tools used to make the works range from DIY printers to fancy 3D-imaging software. Artists Lane Hall and Roman Verostko combine "traditional" and digital methods in their work, while Joshua Davis and C.E.B. Reas hack software programs to produce contemporary works. The sixty pieces in this show, curated by Debora Wood and Paul Hertz, are contextualized by a complementary exhibit called Space, Color, and Motion, which presents time-based installation projects by four artists exhibited in Imaging by Numbers: Jean-Pierre Hebert, Manfred Mohr, James Paterson, and C.E.B. Reas. The museum is also presenting an ambitious slate of public events, including gallery talks, studio workshops, a screening of early computer animations and a symposium entitled "Patterns, Pixels, and Process: Discussing the History of the Computer Print". This all adds up to one remarkable program. If you can't make it to Illinois, check out the slide shows and video samples online. - Marisa Olson

Image: Tony Robbin, Drawing 53, 2004