Approval Voting: Monday May 23, 2011 - Sunday June 05, 2011
Rank Voting: Monday June 06, 2011 - Friday June 17, 2011
In this funding cycle, Rhizome will award ten grants: eight grants will be determined by a jury of experts in the field, and two will be determined by Rhizome’s membership through an open vote. The commission awards will be determined by a jury consisting of Tina Kukelski, formerly of the Whitney Museum of American Art, currently one of the curators for the Carnegie International 2012; Candice Madey, founder of On Stellar Rays gallery, and Domenico Quaranta, writer and media art historian.
Seven on Seven participants answer the question: Do you think artists and technologists create things the same way?
I think that even the broad group of people who call themselves artists create in wildly divergent ways. Conceptual, skilled, unskilled, improvisational, political, strategic, trendy, abstract, collective - these are barely one field of production, yet we unite them somehow. A 'technologist' could easily identify and situate themselves as an artist, it is a choice of field and context. Production and discourse.
I firmly believe technologists and artists operate in a very similar manner, as researchers, and begin the process of making by asking interesting and pertinent questions of the world around them, and working creatively to build the answers...
Image from Spacesuit: Fashioning Apollo by Nicholas de Monchaux
For instance, the word cyborg originated in the Apollo program, in a proposal by a psycho-pharmacologist and a cybernetic mathematician who conceived of this notion that the body itself could be, in their words, reengineered for space. They regarded the prospect of taking an earthly atmosphere with you into space, inside a capsule or a spacesuit, as very cumbersome and not befitting what they called the evolutionary progress of our triumphal entry into the inhospitable realm of outer space. The idea of the cyborg, then, is the apotheosis of certain utopian and dystopian ideas about the body and its transformation by technology, and it has its origins very much in the Apollo program.
But then the actual spacesuit—this 21-layered messy assemblage made by a bra company, using hand-stitched couture techniques—is kind of an anti-hero. It’s much more embarrassing, of course—it’s made by people who make women’s underwear—but, then, it’s also much more urbane. It’s a complex, multilayered assemblage that actually recapitulates the messy logic of our own bodies, rather than present us with the singular ideal of a cyborg or the hard, one-piece, military-industrial suits against which the Playtex suit was always competing.
— Nicholas de Monchaux, author of "Spacesuit: Fashioning Apollo" in an interview with BLDGBLOG's Geoff Manaugh.
This week we are announcing Seven on Seven teams in advance of Saturday's event. Camille Utterback and Erica Sadun are game changers in art and technology. Camille Utterback's interactive installations have appeared in public spaces like San Jose's City Hall, and soon Sacramento airport. Erica Sadun books on programming, digital video, and digital photography likely sit on the shelves of many emerging artists and technologists...
Rhizome contributor Geeta Dayal recently interviewed Max Mathews for Frieze magazine. Sadly the pioneer of digital music (creating MUSIC in 1957) passed away three weeks later. It's a fascinating conversation going over the history of computer music and Mathew's many high profile collaborations, while explaining the creative energy at Bell Labs at the time.
Your boss actually encouraged you to take time off from work to write MUSIC? Bell Labs sounds like it was an amazing place.
Bell Labs was a golden era. Golden for several things. One was that the research money to support it was gotten as a tax on the earnings or the profits of the telephone companies. We got it as a lump sum. The vice president in charge of research, William O. Baker, insisted that there be no strings attached to the money and that we could use it in the way we thought was best. So a lot of very important things were done with this support, or byproducts of things that were used in telephony. There were the radio telescopes, and the measurement of the background radiation with the very low-noise antennas that we developed that supported the Big Bang theory, and there was of course the transistor. And there were all sorts of speech codings that are still very important, and error correcting codes. The departments originally only hired Ph.D. physicists, mathematicians, and maybe a few chemists. Then they gradually let in some engineers. The whole research department, the position you took was a member of staff – MTS, member of technical staff. That was the highest position in the research department! [laughs]...
What’s your attitude about how difficult it was for you in the 1950s to make computer music, versus making computer music ...
Performances by: Brody Condon, Shana Moulton, and Yemenwed
May 1–May 22, 2011
Curated by Courtney Malick
(Re)Move/(Re)Frame presents three performances occurring at different times and places and explores the possibilities of exhibiting performance documentation inviting viewers to participate in the documentary process via the project's accompanying website at: www.r-e-m-o-v-e.info
I found early on that I wasn't even watching the foreground dancers despite the very advanced and edgey dancing they are doing. When an artist has her audience transfixed by the background, she's truly gifted. (Fatova Mingus, This is Not Swan Lake on Marie Chouinard's Body Remix-Goldberg Variations)
Tumblrr, superimposes Tumblr images as a single image
It’s about time people started rendering unto Liquid Sky. Its long lipstick trace is smudged through much of indie cinema. The sights we see in Liquid Sky are riding the wave of genius punk sensibility from the late 70s, but by '83 are in full morph into the weird, technological forms we love. The broad bell-bottom analog curves of the 70's had given way to neon grids and skinny ties, and it was great. (Metafilter)
Presented by AOL, Seven on Seven pairs
seven leading artists with seven game-changing technologists in teams
of two, and challenges them to develop something new —be it an
application, social media, artwork, product, or whatever they
imagine— over the course of a single day. The seven teams are working
together at locations around the New York City today. They
unveil their ideas at a one-day event at the New Museum tomorrow — May 14,
2011. Seven on Seven is organized by Rhizome.