The duck takes picture when it detects flash light/ and also everytime it exits 'mode' of operation. There are few modes including 'driving', 'waiting', and 'printing'. Therefore some pictures are obviously of people taking picture at the duck and others are accidental.
Robotic Geese are remote controlled goose robots that enable participants or robotic goose drivers (aka goosers) to interact with actual geese in urban contexts. The robotic goose interface allows people to approach the birds, follow them closely and interact in a variety of ways that would not otherwise be possible without this interface. The goose drivers can 'talk to' the geese, issuing utterances through the robotic interface, delivering prerecorded goose 'words,' their own vocal impersonations, or other sounds (such as goose flute hunting calls). Each utterance via the robotic goose triggers the camera in the robot's head to capture 2-4 seconds of video recording the responses of the actual biological geese. These video samples upload to the public web-based goosespeak database that the participants can annotate, i.e. "the goose was telling me to go away," "he was saying Hi." As this database of goose responses accretes, redundancy and correlations in the annotations may provide robust semantic descriptors of the library of video clips.
Note: Robotic Geese is part of the artist's ongoing project Ooz.
Renowned light artist James Turrell (1943, Los Angeles) was first associated with the American Minimalists that emerged in the 1960s such as Donald Judd, Robert Morris, and Frank Stella. Today Turrell is known more as an installation artist who uses colored lights to sculpt space and disorient perception. Currently Turrell lives in Flagstaff, Arizona, near the Navaho reservations, where he continues to oversee the completion of his monumental land art project at Roden Crater, an extinct volcano that the artist has “been transforming into a sky observatory for over three decades. In honor of the recently opened James Turrell Museum in Colomé, Argentina, the only museum worldwide dedicated specifically to the artist's career, this article discusses highlights from Turrell’s rich body of work and introduces the new Turrell Museum, where many of these pieces reside.
“Making Worlds”, the theme for this year’s 53rd International Art Exhibition curated by Daniel Birnbaum, argues that art should be seen as a form of “world making” and taken seriously as such. His accompanying essay in the catalog holds a distinctively transcendent ring to it, one that calls out for a universal solidarity through art, in stating, “Perhaps art can be one way out of a world ruled by leveling impulses and dull sameness. Can each artwork be a principle of hope and an intriguing plan for escape? Behind the immediate surface we are many - together and individually, through the multiplicity of imaginative worlds we hold within.” Given the very real worlds of national and political ambitions on the table in the Biennale’s pavilions, not to mention the surreal economic and class component to these sorts of events, Birnbaum’s curatorial statement, which suggests that art is autonomous from these factors, seemed like floral hyperbole in comparison. Why would the U.S. Pavilion be the only country to extend their Bruce Nauman exhibition to three locations across the city? And why would the United Arab Emirates Pavilion feature numerous models of large-scale cultural projects proposed for Abu Dhabi? The world’s fair mentality is here for the long run, that is to be sure. The strongest projects I viewed, in both the main exhibition and the pavilions, were able to eek out a space, certainly not a “world”, with a degree of critical distance and integrity away from the Biennale circus.
Venice is one of the few cities in the world to completely rely on boats for delivery, transportation, garbage disposal, and every other municipal need you can think of. The upkeep of the city is expensive due ...
In an interview in the Village Voice ahead of his current show at Location One, British artist Conrad Shawcross called his Slow Arc Inside a Cube an analogy to Plato’s cave: “the idea that visible reality is only a small crumb of what's really out there.” As a lightbulb moves on a mechanical arm inside a cage, it throws the cage’s gridded shadow across the white walls of the enclosed space that contains the installation, creating the sensation that the room is expanding and contracting as the viewer stands within it. The grid is simultaneously a solid object (the cage) and its fluid trace (the shadow). Could Slow Arc be a wry joke about the white cube and the grid, those two pillars of modern art? Perhaps, but it is primarily a study in reality and tangibility. Lattice Cube IV and Lattice Cube II, two other sculptures at the exhibition, are both segmented, hinged boxes in different forms of expansion, like a moving object caught at two moments in time. Dumbbells are machine-made drawings that trace the frequency of a major sixth, and The Celestial Meters are an homage to the Earth meter, devised in 1799 based on an incorrect estimation of the distance from the equator to the North Pole. Shawcross determined the length of his eight sticks through similar calculations, but for each one he took data on the planet whose name is inscribed in the metallic stick. Shawcross’ work recalls that of Olafur Eliasson, who uses simple geometric and kinetic structures to elicit a sense of wonder about light, optics, and nature. But unlike Eliasson, Shawcross foregrounds the role of the scientific imagination in shaping perceptions of the world.
The Experimental Television Center is seeking artists to participate in their residency program from September 2009 through January 2010. The deadline for proposals is July 15, 2009. Read more about their program below:
The Residency supports contemporary electronic media art projects. The studio workshop environment offers access to an image processing system, intensive individualized instruction and time for exploration and personal creative growth. Artists have an opportunity to study the processes and techniques of analog and digital imaging and to then use the system independently in the creation of new works. Participating artists have complete aesthetic and technical control over all aspects of the making process.
The image processing system is a hybrid tool set which facilitates interactive relationships between older historically important analog instruments such as colorizers and keyers, and new digital technologies using a G5, several G4s, a customized Doepfer A-100 system with sonic and control modules, software including Max/MSP, Jitter and Pluggo, as well as DVD authoring and editing software, DVD Studio Pro and Flash. Recording is mini-DV/DV and DVD. This rich electronic environment encourages artists to explore boundaries and intersections within narrative, documentary and social issue traditions as well as more experimental forms.