A brief glimpse of Daphne Oram's pioneering and unique Oramics synthesizer, designed in 1957 after she left the legendary BBC Radiophonic Workshop to pursue the project.
This short film features Dr Mick Grierson, Director of The Daphne Oram Collection, acquiring the synthesizer from a collector in 2009.
The machine is now in the hands of The Science Museum in London and is currently being restored.
If you haven't done so already, purchase tickets for Rhizome's upcoming 15th anniversary benefit on April 21st at the New Museum's Skyroom, where we'll be honoring Rhizome's Founder Mark Tribe. We've also scheduled Title TK (Howie Chen, Alan Licht and Cory Arcangel) and Ducktails to perform. 7pm VIP Cocktails and 9pm Afterparty. Full details here.
The content of the Pure Data application is read as pure data into sound and pixels (rgb + extrude)
In conjunction with Rhizome's brand new curated page on Kickstarter, we are featuring select projects from the site on the blog. If you would like to let us know about your fund raising efforts on Kickstarter, shoot us an email at editor(at)rhizome.org
Jeff Lieberman, host of Discovery Channel's "Time Warp," designs kinetic sculptures based on perceptual an physical principles. He wants to mass produce Moore Pattern- a kinetic optical-illusion sculpture. Moore Pattern is based on a moiré pattern, a type of interference pattern, which Lieberman generates with two of the same shape placed backwards and rotating in opposite directions.
Moviesandbox is an Open-Source, Real-Time 3D Animation tool. It allows you to quickly sketch and animate 3D Characters and Props. Its focus is on ease of use and modularity. The idea is that you can simply draw objects in 3D space and animate them later on with the built in timeline.
You can also script puppeteering and camera behaviour using a graphical scripting system. And in addition, Moviesandbox can receive data from outside applications allowing MIDI-Controllers, Kinect sensors, Milkscanners and Arduino hacks to control all aspects of your animation in real-time!
Friedrich Kirschner began working on this project since his 2008 Fellowship at Eyebeam Art and Technology Center. He would like to spend two months of working to turn it into a tool for wider release, including a linux version.
Tweet Land is a real time game developed by award winning Costa Rican developers. Every time someone tweets something the tweet affects the gameplay of Tweet Land by triggering certain action-keywords, such as "car accident" in your racing game. Because it is altered ...
In this short clip, filmmaker Bruce McClure is interviewed on the occasion of the 25 FPS International Experimental Film and Video Festival 2010. Video by Daria Blažević, Mario Kozina and Igor Lušić.
From April 13 - 19, as part of their 40th anniversary programming, the Electronic Art Intermix (EAI) will organize a special project in Time Square. Partnering with the Times Square Alliance and MTV, EAI will be showing a program of video works on MTV's MTV 44½'s large-format LED screen. The selected pieces by Vito Acconci, Dan Asher, Phyllis Baldino, Dara Birnbaum, Gary Hill, Shigeko Kubota, Takeshi Murata, Nam June Paik, Martha Rosler, Stuart Sherman and William Wegman span EAI's 40 year history and are only a fragment of EAI's vast archive.
The videos will play at the top of each hour, between noon and 4pm and between 6pm and 11pm. On Saturday, April 16 and Sunday, April 17 the complete program (25:16 min) will also play at noon.
James Voorhies is the Director and Chief Curator of Bureau for Open Culture (BOC). BOC operates through exhibitions, screenings, performances, and informal discussions that happen in and outside of the gallery space. Working with a variety of collaborators, Voorhies has sought to question the role of institutions in the dissemination of various art practices. I got to know Voorhies when we collaborated on the BOC’s The New Administration of a Fine Arts Education, a conversation series with leading individuals of contemporary art that took place at the Columbus College of Art and Design in Ohio. This spring and summer, BOC will present two projects. Seventh Dream of Teenage Heaven, from April 5-29th at Bennington College, and I Am Searching for Field Character, presented at Mass MoCA this summer. Incorporating a series of public conversations, performances, installations, workshops and a beer garden, BOC will be bringing artists, writers, designers and thinkers to North Adams, Massachusetts to explore the economic and social character of the cultural laborer. I took this opportunity to talk to him about BOC and his hopes for the future of his organization.
How would you describe the mission of Bureau for Open Culture?
The mission is to reconsider the art exhibition as a new kind of learning site. We don’t necessarily prioritize the gallery as a site for engaging with art or seek to provide an absolute conclusion to the ideas exhibitions raise. To do this, BOC welcomes people from disciplines outside of the usual visual arts⎯landscape architecture, literature, philosophy, design and activism⎯to intermingle. We produce projects that take place in storefronts, gardens, libraries and unused industrial spaces within a wider consideration of the nature of contemporary art and culture.
The exhibitions are made with an awareness of the effect that an art institution⎯as a physical space and a concept⎯has on how art is produced and how people experience it. A lot of my interests in the structural behavior of the art institution come out of watching organizations like Office of Contemporary Art Norway, Shedhalle in Zurich and IASPIS in Stockholm. These are institutions of critique that have taken up the kind investigations of institutions found in artistic practices like those of Michael Asher, Hans Haacke and Andrea Fraser. These institutions were not long ago categorized loosely within a term called “New Institutionalism.” But, I don’t think that term is used so much today.
Using alternative spaces, Bureau for Open Culture tends to mediate more strongly or maybe less didactically between visitors and art. Moving the action out of the gallery is one way we do this, but I also care about what viewers will get out of a connection with a visiting artist or a talk. For example, the collective artist Claire Fontaine participated in the exhibition Descent to Revolution. Part of their contribution to the exhibition was to give a talk related to Lyotard’s Libidinal Economy. I organized a weekly reading group for Lyotard’s book with about 10 to 12 participants who discussed the book, which is really difficult to grasp, alongside images of work by Claire Fontaine. We had participants from all sorts of backgrounds⎯students of philosophy and comparative studies, activists and visual artists. We did this over the course of five to six weeks in a kind of preparation for Claire Fontaine’s visit to Columbus. While we did not devour the book as much as one could, the reading group created an investment and interest in Claire Fontaine. We had an incredible turnout for their talk, a great conversation. The talk took place in an unused storefront space where other projects and actions were occurring during the course of the exhibition. It was late October and the rundown space with its leaking ceiling and lack of heat helped reduce the formal effect of the institution to put audience and artists on closer levels. I really liked the whole experience.
There are also lots of private moments between visiting artists and the community. Those moments, to me, are as important as the public engagement. So, all of this combined is what I mean by rethinking the exhibition as a new kind of learning site.
Dear readers, artists and friends of Rhizome,
As some of you may know, our senior editor Ceci Moss is stepping down at the end of this month to devote herself to finishing her PhD. It’s bittersweet to see Ceci go. In her time here, she has brought a tremendous amount to the organization, from intelligent reviews, to a forward-thinking and dynamic editorial program, to true Californian good vibes that have permeated our east coast office culture. Ceci is a true champion of experimental art and emerging artists; this is evidenced in the incredible breadth of her editorial coverage, and her openness to and encouragement of young artists and nascent forms of sound, media and performance. As Senior Editor, she built up an excellent stable of critics for Rhizome and mentored a range of curatorial fellows. She also demonstrated what an awesome team player she is by doing things like tending bar at Rhizome parties, folding & stamping during 5-hour long mailings, contributing strategy and support on all levels of programming and handling all the other tasks--small and large--that keep the wheels of a non-profit turning and have helped Rhizome grow in recent years. Ceci is a stellar colleague, and she will be missed. She will continue writing for Rhizome after she leaves in May. We all wish her the best in her career transition.
It's my great pleasure to welcome Joanne McNeil in to the post of Senior Editor! Joanne is a renowned writer and editor, whose expertise lies at the intersection of contemporary art and technology. She has 10 years blogging experience, most notably for her website, the Tomorrow Museum, which has received wide and varied praise, like “Best Source for Making Sense of it All” in the Morning News end-of-year round-up of best sites. Joanne is a contributing writer to Time magazine's Techland blog and has written for diverse sources including the Boston Globe and Reason Magazine, with forthcoming work for N+1 and Frieze. She first made fans out of the Rhizome staff for the incredibly insightful and provocative writing published through the Tomorrow Museum on subjects including J.G Ballard, Nam June Paik, the Future (and how its depiction has changed), alongside rich essays on a number of current events and developments in art and culture. We are thrilled to welcome Joanne to the organization, and to see how she will lead the editorial program here. She will begin on May 2, 2011.