Date: Sunday, January 20th
Time: 3PM SHARP
Location: University of the Arts, 333 S. Broad Street, Anderson Hall, 4th Floor
Cost: $5 donation suggested
RSVP: Required for this meeting (email first & last name to makephilly@gmail)
The next meeting of MakePhilly will feature guest speaker Don Miller (also known as NO CARRIER) who creates fast paced, colorful visuals for live music events and interactive art installations by hacking 8-bit Nintendo Entertainment System (NES) consoles with custom programmed cartridges.
Don will share his DIY approach to programming the PPU (Picture Processing Unit) of NES consoles. He will demonstrate that you that you don't need to know much math or have prior programming experience to explore the graphics of old NES games, hack and edit NES ROM images, and even create simple graphics programs.
Originally posted on vertexlistblog by Rhizome
A seamless compilation of videos, each replete with soft focus framing and saccharine close-ups. All found by searching the Getty Images archive with the phrase "artist looking at camera." By Guthrie Lonergan.
Originally posted on del.icio.us/lauren_cornell by lauren_cornell
Chunky Move: Glow :: February 7-9, 2008; 7:30 pm and 9:30 pm :: February 10, 2 pm and 3:30 pm :: The Kitchen, 512 West 19th Street, NYC :: Co-Presented with The Joyce Theater.
Glow is an illuminating choreographic essay by Artistic Director Gideon Obarzanek and interactive software creator Frieder Weiss. Beneath the glow of a sophisticated video tracking system, a lone organic being mutates in and out of human form into unfamiliar, sensual and grotesque creature states.
Utilising the latest in interactive video technologies a digital landscape is generated in real time in response to the dancer's movement. The body's gestures are extended by and in turn manipulate the video world that surrounds it, rendering no two performances exactly the same.
In Glow, light and moving graphics are not pre-rendered video playback but rather images constantly generated by various algorithms responding to movement. In most conventional works employing projection lighting, the dancer's position and timing have to be completely fixed to the space and timeline of the video playback. Their role is reduced to the difficult chore of making every performance an exact facsimile of the original. In Glow, the machine sees the performer and responds to their actions, unlocking them from a relationship of restriction and tedium.
Originally posted on networked_performance by jo
The Icelandic new music ensemble Hestbak formed in 2003 as a brass-heavy improvisation collective. Under the influence of Aki Asgeirsson, who joined a year later, the band began experimenting with interactive technologies and the potential of animated scores to "conduct" performances of their compositions. A group recital last weekend, hosted by experimental folk singer Kria Brekkan at Brooklyn gallery Secret Project Robot saw the execution of several different pieces in which musical instructions, rendered as simple kinetic forms, emanated in real time from a video projector for viewing by both ensemble and audience. Each piece treated the passing of time as a stroll horizontally or vertically across the score, usually with a fixed point designated as the cue for performers to make sound.
Gudmundur Steinn's "Volma" referenced the graphical interface of studio recording software, while Asgeirsson's "Talfall" featured multiple strings of descending numerical values cascading along parabolic pathways. As each number disappeared off the bottom of the screen, a Hestbak member plunked its corresponding note on a piano, enabling a variety of casual rhythms and harmonies.
Perhaps "Hvitasuo" by Pall Ivan Pallson demonstrated the direct potential of video scoring most effectively to the uninitiated. Before the piece, Pallson distributed plastic party cups and instructed the audience members on how to position them in accordance to the length of slowly scrolling points in a projected diagram. Then came the sound: a relentless swath of pure white noise, which morphed differently for each individual in relation to the distance of the cups to his/her ears.
While projected scores are nothing new to the experimental music community, graphic dataflow software like Max/MSP (and its free counterpart used by Hestbak members, Pd ...
Image: Juan Manuel Patino, C2Mi Ledlab, 2001
JavaMuseum - Forum for Internet Technology in Contemporary Art
released recently a new showcase, entitled:
This show setup online in form of a "blog", as well, is curated by Wilfried Agricola de Cologne featuring art related blogs by following artists
Randy Adams aka runran (Canada), Tauvydas Bajarkevicius (Lithuania),
Raheema Begum (India), Hans Bernhard (Austria), JR Carpenter (Canada),
Anthony Carriere (USA), Dylan Davies (USA), Ryan Gallagher (USA), Fabian Giles (Mexico),
Ellie Harrison (UK), Gita Hashemi (Canada), Jeremy Hight (USA), Juan Patino (Argentina),
Alexander Jancijevic (Canada), Richard Jochum (USA),
Keith Deverell, Seth Keen, David Wolf (Australia), Kyon (Germany),
Yvonne Martinsson (Sweden), Vytautas Michellevicius (Lithuania), Alex Perl (USA),
Karla Schuch Brunet (Brazil), Robert Sloon; (USA), Andres Torres (Chile),
Michael Szpakowski (UK), Matthew Williamson; (USA), Salvatore Iaconesi (Italy)
Read more in the curator's statement on
The showcase - "a+b=ba? [art+blog=blogart?] is also a featured part of NewMediaFest2007 - http://2007.newmediafest.org
JavaMuseum, founded in 2000 as a virtual museum realized in its "1st phase" between 2001 and 2005 18 showcases of netart in a global context including more than 350 artists and 1000 netart works.
In 2006, JavaMuseum initiated --> JIP - JavaMuseum Interview Project including more than 75 interviews with professionals in new media art.By being re-launched on 1 November 2007, JavaMuseum started its "2nd phase"
JavaMuseum - Forum for Internet Technology in Contemporary Art and JIP - JavaMuseum Interview Project are corporate parts of [NewMediaArtProjectNetwork]:||cologne the experimental platform for art and new media from Cologne!
Originally posted on Rhizome.org Recent Discuss Posts by Wilfried Agricola de Cologne
From upper left to lower right: Haubitz+Zoche (Munich): 2027 ART+COM (Berlin): Reactive Sparks Diana Thater (Los Angeles): OFF WITH THEIR HEADS Mader/Stublic/Wiermann (Berlin): reprojected Copyright: OSRAM ART PROJECTS, photographers: Haubitz+Zoche, Stephan Kausch, Mader/Stublic/Wiermann
In late 2006, the project, SEVEN SCREENS, a platform for digital art projects in pubic space, was established in Munich. Seven light stelae- situated on one of the main arteries of this major German city- are equipped with state of the art LED technology. They create the site-specific context for temporary projects, which probe the most varied interactive, media and artistic concepts in an urban setting. The artistic concept of a variable platform within a clearly defined and permanent framework is what renders the SEVEN SCREENS unique in the world of art in public space. Since their construction, Munich has had a new landmark.
The format of the SEVEN SCREENS places high demands on artists: The individual stele can be interpreted as a fragment (of a vision field), as an autonomous image carrier, as a monument (in the sense of a sculpture) or as an architectural element. As an ensemble the seven stelae refuse to provide the viewer with an ideal vantage point: There is no spot from which the seven image screens can be fitted together to form a whole. It is the viewer's own perception- insofar as the specific works allow for this- that enable the individual image elements to appear as a closed entity.
Two internationally acclaimed video artists have developed an installation for the SEVEN SCREENS in Munich for 2008: Anouk de Clercq, a Belgian artist, who unites different art forms, such as images, texts, music, animation and architecture, in her video works, and BjÃ¸rn Melhus, a Berlin video artist, whose favored materials are ...
Originally posted on e-flux shows :: rss by Rhizome
This hugely significant event will illustrate many of the aesthetic, philosophical, scientific and medical issues raised in the exhibition sk-interfaces, and will feature specialists of international renown from a wide range of fields and disciplines. The artists' projects that feature in the exhibition will be discussed in the context of wider debates on and around skin and its role as an interface, as well as biotechnology as an artistic medium and subject.
sk-interfaces Exhibition :: February 1 - March 30 :: Gallery 1 & 2, Media Lounge and Public Spaces, FACT, 88 Wood Street, Liverpool.
A groundbreaking exhibition on the uncertain limits between art and science, sk-interfaces explores, materially and metaphorically, the concept of skin as a technological interface. This multi-disciplinary exhibition launches FACT's Human Futures programme. Designer hymens by medical artist Julia Reodica, a coat made of blended skin cultures by legendary French artist ORLAN, Jun Takita's model brain infused with glowing moss, and biotechnological 'leather' growing in the galleries by the Tissue Culture & Art Project - are some of the projects that reflect the curatorial concept of Jens Hauser in an approach involving science, politics, philosophy and architecture.
Originally posted on networked_performance by jo
Throughout his career, English filmmaker Patrick Keiller has explored the nuances of his country's landscape. His investigations are set apart by their interest in the way the social, economic and political forces have shaped the nation's geography. One of his most famous films, London (1994), is a documentary account of the year 1992 in England's capital, as narrated by a fictional protagonist "Robinson". Keiller captures the grit and strife of London during the early 1990s, against the turbulent backdrop of declining infrastructure, IRA bombings, and longstanding Tory rule. Keiller combines static camera shots of London streets and landmarks with a poetic voice-over to create landscapes that evoke the political situation of the time. In his new installation The City of the Future (2007), currently on view at the British Film Institute on London's Southbank, Keiller marks a new phase in his exploration of England's socio-economic geography. Based on his research project "The Future of the Landscape and the Moving Image" (2007) at the Royal College of Art, The City of the Future unfolds as a multi-channel installation composed of moving images of London's late 19th century and early 20th century urban landscape collected from "actuality films," an early genre of documentary film that loosely captures footage of events and areas. Using an interactive map, visitors to the space may select a city and play films corresponding to the location. As such, the participant is made aware not only of the differences and similarities of the city's urban geography over time, but also the ever-changing social and economic realities written on the city itself. - Caitlin Jones
Image: Patrick Keiller, The City of the Future, 2007
Peace Zombie, new work by Ben Fino-Radin on Ignivomous. Marisa Olson covered Fino-Radin in a December Rhizome Blog post. See below for artist's description of "Peace Zombie":
The page is extra beefy and may take a while to load completely. Sorry if you're on dial-up.
Originally posted on del.icio.us/marisaolson by marisaolson