Posts for April 2009

General Web Content

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This ongoing series explores significant developments on the internet, like this new hot thing called twitter that everyone's been talking about. We've culled the, uh, "twitterverse" to bring you some of the more curious and unique accounts out there (plus a few entertaining twitter spin-offs). Feel free to add links or suggestions in the comments section.

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Twitter feed created using the "Tweeting RFID Cat Door". Description from the site Tweeting Cat Door:

Each cat has a small RFID tag on the collar. When a cat is in the close proximity of the door, a small RFID reader reads the tag and if the cat is authorized, a servo will unlock the cat door. The RFID reader and the servo controller are connected to an old laptop. The software on the laptop is written in Delphi and for each "cat door event" is sending a Twitter message and a picture to twitter.com.



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Twitter feed of injuries by Petra Cortright.



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The unofficial Denton Mugshot twitter for Denton, Texas. Programmed by a UNT art photography student, drawing attention to how much public info we put online.



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The Twittering office chair "tweets" (posts a Twitter update) upon the detection of natural gas such as that produced by human flatulence.



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The twitter feed from "On Kawara"



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Faces made with unicode



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Documentation of documentation from vvork (not affiliated with vvork.com), started by Guthrie Lonergan, managed by Tom Moody.



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...



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A List Of Every NBA Player On Twitter



Twitter, etc.



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Were you on twitter before Ashton Kutcher? Find out here.



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Twetris uses the twitter timeline to create blocks for a tetris game.

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Surveying the Limitless Field

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Image: Still from Lucy Raven's "China Town"

When the staff of the New York Underground Film Festival decided to end the fifteen-year-old institution and start fresh, they named their new venture Migrating Forms. The title of the new festival, which debuted last week at Anthology Film Archives, resonates with the theories that heavyweight curators like Roger Brueghel and Nicolas Bourriaud have proposed to describe art-making in conditions of international interconnectedness, where a finite number of cultural models yield a seemingly infinite number of variations. The term “migrating forms” could also refer to the travel of moving-image art between gallery and cinema, or describe aspects of films in the festival program, from the content of documentaries like Lucy Raven’s China Town, a stop-motion photographic animation about the U.S.-China copper trade, to the form of shorts that repurposed found footage, like Jesse McLean’s Somewhere Only We Know, which included a montage of reality-show contestants’ faces as they are kicked off television.

Oksana Bulgakowa’s The Factory of Gestures, based on her book of the same name, explored how Russian and Soviet cinema manufactured and recalibrated codes of body language over eighty years of social upheaval. Running commentary explained gestures’ shifting meanings, and the replacement of the films’ sound with a spare, atonal score helped separate the actors’ motions from narrative. The subject matter of The Factory of Gestures had limited appeal for the experimental film crowd (I was the only viewer at the Saturday afternoon screening), but Bulgakowa’s work suggested an interesting direction for creative presentations of scholarly research.

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Image: Still from Jacob Ciocci’s "The Peace Tape"

The lecture format appeared again in Oliver Laric’s Versions, a pithy essay on the irrelevance of the notion of authenticity and the “animistic” attitude that has taken ...

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Good Vibrations (2008) - Damien Roach

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Subwoofer and mp3 player.

The Beach Boys song "Good Vibrations" lowered in pitch to below the human audible range.

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untitled (bench) (2001) - Jeremy Boyle

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cast concrete bench, subwoofer, amplifier, CD player and recording

This piece consists of a concrete bench cast hollow, with its internal cavity serving as a sealed sub-woofer speaker enclosure. A recording of nearly sub-audible sound is played through this bench and is not experienced until someone is seated and feels the vibrations of the sound. The bench is designed to be typical of a public concrete bench, the only difference being its shape of a cube meant for one rather than rectangular for the possibility of multiple simultaneous users. This creates a situation where the user necessarily has a private experience with the piece, placing a shift in the function of the public bench and allowing for a private experience to take place within a public setting (without removing the person from their public position and function.)

-- FROM THE ARTIST'S STATEMENT

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Google Similar Image Search

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Google Labs launched a cool new feature this week, Google Similar Image Search. It functions much like you would expect—type in a search term, and Google will find images that it thinks are the same or similar. You can continue to narrow your search to the nth degree; my search for “phoenix” lead me to images for the bird, band, Southwestern city, NASA lander and, of course, Joaquin. Since I was looking for images to guide my upcoming trip to Arizona, I avoided looking at Joaquin, and suddenly found myself able to visually explore multiple versions of the same shot of downtown Phoenix and the surrounding desert. The filters used in normal Google Image search are particularly helpful, as you can use these to narrow your initial search results by size, content, and color. Most of all, it allows you to track the circulation and modification of a single image's path online, a tool that could potentially be useful for artists.

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Interview with InCUBATE

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InCUBATE storefront (Photo by Bryce Dwyer)

I first encountered InCUBATE’s work at Creative Time’s exhibition “Convergence Center at Park Avenue Armory.” For the run of the show, this Chicago-based artist-run organization set up a temporary soup cafe in collaboration with artist Robin Hewlett and artist group Material Exchange. Visitors were invited to purchase soup, and these funds were then directed toward small grants to support art projects. The soup cafe was an extension of their ongoing project Sunday Soup, which offers monthly meals in their storefront space in order to fundraise money for individual artist’s projects. Sunday Soup is but one example of the alternative economic models put forth by InCUBATE’s varied activities and research. In a shaky economic climate, InCUBATE’s grassroots approach to arts funding propose useful solutions to enduring, and most likely, increasingly pressing obstacles. For our ongoing series dealing with contemporary art and the recession, I decided to interview InCUBATE (Abigail Satinsky, Bryce Dwyer, Roman Petruniak, and Matthew Joynt) about their activities. - Ceci Moss

What is InCUBATE and how did it begin?

InCUBATE stands for the Institute for Community Understanding Between Art and the Everyday. We are an experimental research institute and artist residency program dedicated to exploring new approaches to arts administration and arts funding. Acting as curators, researchers and co-producers of artist's projects, our main focus has been to explore ways that artists, both historically and today, have incorporated models of resource allocation, community building, funding structures and forms of exchange as part of their artistic practice.

We originally came together while studying Arts Administration and Policy at the School of the Art Institute of Chicago. Given our desire to provoke a critical recognition of how art practices can better relate to alternative systems of economic and cultural exchange ...

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death disco (2009) - Constant Dullaart

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FOR 2009, IDEA SUBSCRIPTION__ (2009) - David Horvitz

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David Horvitz’s For 2009, Idea Subscription__ (2009) is an email-based subscription list and tumblr blog of “open source” ideas for art projects, updated on an almost daily basis. Readers are encouraged to, “…realize, change, steal (you can't steal something that is free!), publish, claim as your own, destroy, become influenced by (either because you like them, or because you hate them so much that they give you better ideas), appropriate, spray paint, or anything else with them.” The ideas are all whimsical and offbeat, such as leaving a pile of flour outside one’s door for visitors to step in and photographing the resulting tracks (April 4th) to flying a kite in an area with dense advertising, such as Times Square, in order to serve as a distraction (March 13th). One of the ideas, dating from April 7th, has taken on a life of its own. Horvitz suggests that readers take photographs of their head in a freezer and upload it online using the tag “241543903”. There is now a dedicated site for these images at 241543903.com as well as a flickr group, while a quick flickr search results in at least 80 photographs of people with their heads in a freezer. The emerging popularity of 241543903 is additional proof (as if any is needed) to support Cory Arcangel's statement from the March 2009 issue of Artforum that, "...you can put anything up on the Internet and there will be five people who want it, no matter how weird or obscure the information. The niche exists: someone’s going to find you, period."

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Image: 241543903 from flickr user hubs

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Image: 241543903 from flickr user hugotsantos

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Image: 241543903 from flickr user .y.a.r.a.

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Christian Jankowski Talk Wednesday at the New School

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Image: Christian Jankowski, Living Sculptures, Dali Woman, 2006-07 (Bronze, 86.61 x 35.43 x 31.5 inches (Photo: Seong Kwon, courtesy of Public Art Fund)

This coming Wednesday at The New School, German artist Christian Jankowski will give a talk on his career and work at 6:30pm in the Tishman Auditorium. (Students get in for free, so be sure to bring your student IDs!) Jankowski works in a variety of media, including video, installation, photography, performance, and sculpture, often engaging aspects of his personal life as his subject matter. In 1997, for a piece called Let's get physical/digital, Jankowski and his girlfriend Una, he in Stockholm and she in Milan, set up a chat room on the web where they met daily. These instant-message exchanges were then translated into German and Swedish, and given to seven pairs of actors, who played out the two roles in a series of vignettes that were videotaped, subtitled in English, and broadcast on the Web. Exhibiting the playful humor more typical of Jankowski’s pieces is Telemistica (1999), created for the 1999 Venice Biennale and now on view in the exhibition Broadcast at Pratt Manhattan Gallery. For this piece, the artist phoned Italian psychics on their live television shows and asked them questions about his artwork, such as how it would fare at the Biennale. Jankowski's stilted and awkward conversations with psychics in his non-native Italian jokingly mock artistic inspiration and success. Jankowski’s work is also currently on view at the Doris C. Freedman Plaza in Central Park, where a trio of life-sized, bronze figures, titled Living Sculptures: Caesar, Dali Woman, El Che are positioned just outside the Park’s entrance. The figures are modeled after three professional street performers the artist observed in Barcelona presenting themselves as ...

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Kaleidscopes (2009) - Tara Sinn

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