In 1993 Howard Rheingold wrote a remarkable book called The Virtual Community. In this book he gives what might best be called a personal account of the expanding culture of people communicating via computer networks. I asked him some questions about the relationship between virtual and traditional communities, most appropriately, via e-mail.
Howard Rheingold has been publishing books and articles on computer culture for many years. He is the multimedia columnist for Publish magazine and editor of Whole Earth Review. He has also been a consultant to the US office of Technology Assessment, and recently he took charge of Planet Wired a network project that will document the digital revolution with local examples, made accessible via the Net to a world-wide audience.
More than merely informative, his book The Virtual Community is above all a highly personal account of the way in which people are using computer networks as communication devices, or rather how they are engaging in Computer Mediated Communication (CMC), the term Rheingold prefers. Rheingold maintains that Computer Mediated Communication creates a new sense of community; people from around the world are linked together in public discussions, people who exchange ideas and messages, share interests and work together, outside of the constraints of geographical space and across social barriers.
In his book he provides us with a somewhat formal definition of virtual communities, which he describes as “social aggregations that emerge from the Net when enough people carry on those public discussions long enough, with sufficient human feeling, to form webs of personal relationships in cyberspace”. Rheingold has himself been actively involved in one of the early network communities in the US, The Well, based in San Francisco.
Using networking technologies within the context of traditional geographic communities produces Community Networks. I began by asking Rheingold to explain ...
Gloria Maximo - Director, Painting
Jonathan Turner - Director, Animation
Shawn Maximo - Architectural Design, Sculpture
Kate Rosko - Musical Director, Piano
Joseph Fraioli - Sound Designer
Megha Barnabas - Movement
Jason Farrer - Movement, Sculpture
Busy Gangnes - Movement
Paul Kopkau - Movement, Sculpture
Heather Kosch - Movement, Sculpture
David Santa Maria - Sculpture
Laura Foxman - Writing
Mary Voorhees - Graphic Design
Black Cracker - Vocal Engineer
Peter Zuspan - Audio Installation
Shannon Funchess - Vocals
Nina Mehta - Recorder
Natalie LeBrecht - Vocals
Mick Barr - Guitar
Abby Portner - Drum Machine
Colin Marston - Guitar
Lev Weinstein - Drums
We do not think that taking a stand for or against WikiLeaks is what matters most. WikiLeaks is here to stay, until it either scuttles itself or is destroyed by opposing forces. Our point is rather to (try to) assess and ascertain what WikiLeaks can, could — and maybe even should — do, and to help formulate how “we” could relate to and interact with WikiLeaks. Despite all its drawbacks, and against all odds, WikiLeaks has rendered a sterling service to the cause of transparency, democracy and openness. As the French would say, if something like it did not exist, it would have to be invented. The quantitative — and what looks soon to become the qualitative — turn of information overload is a fact of contemporary life. The glut of disclosable information can only be expected to continue grow — and exponentially so. To organize and interpret this Himalaya of data is a collective challenge that is clearly out there, whether we give it the name “WikiLeaks” or not.
In protest of the Smithsonian's decision to pull David Wojnarowicz's A Fire In My Belly from the "Hide/Seek: Difference and Desire in American Portraiture" exhibit at the National Portrait Gallery after pressure from the Catholic League, Rhizome's sister organization, the New Museum, will screen the work in the lobby until January 23, 2011. Many other museums, galleries and universities around the country (and world!) are following suit. Check HIDESEEK.ORG for a full listing of screenings of A Fire In My Belly organized in response to the controversy.
Need tunes for your holiday party? Brooklyn-based experimental label SHINKOYO just released this little gem - a 1969 recording by Bay Area composer Warner Jepson of Christmas carols, recorded entirely on the Buchla 100 Analog Modular Synthesizer housed at the Mills College Electronic Music Studios. Jepson, in a description accompanying the track, recalls that he produced "Buchla Christmas" as a soundtrack for a children's holiday party, hosted by SFMOMA.
Here's a short video documenting Allora & Calzadilla's work Stop, Repair, Prepare: Variations on Ode to Joy for a Prepared Piano (2008), which the group will perform on an hourly schedule, every day, at MOMA until January 10, 2011.
This PDF is to serve as an extended statement of artistic purpose and critique of our contemporary relation to objects and images in Post-Internet culture. More than anything, it poses a survey of contemplations and open questions on contemporary art and culture after the Internet.
“Post-Internet Art” is a term coined by artist Marisa Olson and developed further by writer Gene McHugh in the critical blog “Post Internet” during its activity between December 2009 and September 2010. Under McHugh's definition it concerns “art responding to [a condition] described as 'Post Internet'-when the Internet is less a novelty and more a banality. Perhaps ... closer to what Guthrie Lonergan described as 'Internet Aware'-or when the photo of the art object is more widely dispersed [&] viewed than the object itself.” There are also several references to the idea of “post-net culture” in the writings of Lev Manovich as early as 2001.
Specifically within the context of this PDF, Post-Internet is defined as a result of the contemporary moment: inherently informed by ubiquitous authorship, the development of attention as currency, the collapse of physical space in networked culture, and the infinite reproducibility and mutability of digital materials.
Post-Internet also serves as an important semantic distinction from the two historical artistic modes with which it is most often associated: New Media Art and Conceptualism.
New Media is here denounced as a mode too narrowly focused on the specific workings of novel technologies, rather than a sincere exploration of cultural shifts in which that technology plays only a small role. It can therefore be seen as relying too heavily on the specific materiality of its media. Conceptualism (in theory if not practice) presumes a lack of attention to the physical substrate in favor of the methods of disseminating the artwork as idea, image ...
Shana Moulton and Nick Hallett's epic multimedia one-act opera Whispering Pines 10 will run at the New Museum on Saturday and Sunday, January 8 and 9, 2011. If you missed the performance of this piece at the Kitchen last Spring, now is your second chance to see the show! Read more about Whispering Pines 10 below, and be sure to pick up your tickets early through the New Museum site.
Note: We ran a short essay in Rhizome News by Brian Droitcour on Moulton's series Whispering Pines when the opera debuted, check it out.
Whispering Pines 10 is a one-act opera by artist Shana Moulton in collaboration with composer Nick Hallett, and featuring vocalist Daisy Press. It features a live performance by Moulton as her alter ego Cynthia, a hypochondriac agoraphobe prone to colorful hallucinations and absurd fantasies. While Cynthia seeks health and total happiness within her virtual environment—an interactive video set that utilizes real-time multimedia techniques its creators call “live animation”—she usually settles for fad cures and new-age kitsch, creating situations in turn comic, contemplative, and surreal.
Whispering Pines is the celebrated video serial created by Moulton in 2002 that has previously spawned nine episodes, along with related performances, videos, and gallery installations. Whispering Pines 10—the latest installment—is an innovative performance hybrid that incorporates elements of traditional opera into contemporary video and performance art. Its premise—a woman alone in her private environment, aided by technology—enables a flexible sensibility wherein popular and experimental forms can mingle. The original music and libretto composed by Hallett takes advantage of the narrative’s dream logic to weave what is essentially a pop music vocabulary into an experimental idiom, enabling a virtuosic exploration of the human voice. As the protagonist does not effectively speak, the sounds ...