Posts for May 2011

Upcoming Rhizome Events at the New Museum

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Two upcoming Rhizome events at the New Museum:


THE TABLE presented by the New Museum and Rhizome.
Part of We Remember Stories, Not Facts: Wu Tsang in Residence
7th Floor Sky Room
Thursday, June 23rd, 4pm - 9pm
Free before 7pm, $12 after

The New Museum and Rhizome are pleased to present THE TABLE. THE TABLE is a 5-hour day-into-night performance by DJ/producers Kingdom (Ezra Rubin), NGUZUNGUZU (Asma Maroof & Daniel Pineda), and Total Freedom (Ashland Mines) in collaboration with Wu Tsang. Presented by Wu Tsang as part of his residency We Remember Stories, Not Facts, THE TABLE is a live performance/webcast that brings together a group of artists who believe in DJing as an art form. THE TABLE places the four DJs on four opposing sides of a table in the middle of the floor. The artists face each other, working together and/or against each other to produce a constant stream of ad-libbed new ideas in sound. The unusual set-up gives the audience an unconventional role as co-conspirator, huddled around the table like students at a schoolyard brawl. The particular placement of the table uses bad feng shui to pleasantly disrupt our experience of entertainment and hospitality. THE TABLE is part of an ongoing series of parties/sound/experiences that began in Los Angeles.

Total Freedom, aka Ashland Mines, is a DJ/Producer living in Los Angeles. Besides being known internationally for brain broadening DJ sets, Ashland is known in Los Angeles for his work curating and producing events. The first experiments with The Table were directed by him.

KINGDOM, aka Ezra Rubin, is a DJ/Producer living in Los Angeles. Ezra's work is held in high regard around the world for its completely individual, almost otherworldly, character. Ezra has official releases on Fools Gold, Night Slugs ...

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White Wall Tehran (2007) - Anahita Razmi

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White Wall Tehran (still)

The video work “White Wall Tehran” results from a trip to Iran in January 2007. On the streets in Tehran I was stopped by the Iranian revolution guards, because I had been filming them with my videocamera. They erased 27 seconds of my video by filming the white inner wall of their headquarters. The re-recording only is producing the white imagery, that is showing nothing, but at the same time is consisting of various sound fragments: a radio transceiver, somebody stirring his coffee, music playing.

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Weekend Clicking

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Leonora Carrington photographed by Kati Horna

Links for your weekend:

  • I didn't have time to be anyone's muse... I was too busy rebelling against my family and learning to be an artist. Leonora Carrington Is Dead at 94. (NYT)
  • Chris Marker Day on Dennis Cooper's blog. Also, Gorgomancy
  • Chris Collins writes an epilogue to his story of Ron Tye, Luzy, and tyepilot.com (AFC)
  • Jia Zhang's Platform and The World reviewed on Notcoming
  • On the misuse of Occam’s Razor The important part of the sentence is not about simplicity, but about selecting a hypothesis. When you’re trying to figure out which explanation for something you’ve observed is correct, the best approach is to test the hypothesis that you can eliminate most quickly.
  • Zanran - A Search Engine for Graphs
  • An algorithm that depixelizes 8-bit pixel art into "lush vector graphics."
  • Björk interviews Arvo Pärt
  • Ballet depends on the power of a woman’s body but rarely celebrates it. If anything, ballet encourages women to torture their bodies, rewarding their ability to be strong while appearing physically vulnerable. What choreographer Karole Armitage and her Armitage Gone! Dance company offer is not precisely a refutation of this rule, but its counterpoint. The Punk Ballerina (The Paris Review)
  • ASCIImeo takes Vimeo video and plays them as ASCII art. (via Kottke)
  • When Man First Met Troll (The Atlantic)
  • Videos from NYU GAME Center lecture series including talks by Erik Wolpaw, Richard Garfield, Kellee Santiago, and McKenzie Wark.
  • Also: MIT GAMBIT Lab Videogames 101 Event Lectures
  • Simon Reynolds essay on Ariel Pink: What resulted seemed to be a semi-conscious attempt to recreate the primal scene of the child falling in love with pop for the first time with an ear cupped to an imperfectly-tuned transistor. This illusion was created ...
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    Depixelizing Super Mario World

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    The algorithm to create smooth vector graphics from pixel art applied to Super Mario World. Via Image Oscillite

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    1954 (2004) - Bojan Sarcevic

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    Images from Bojan Sarcevic, 1954 (2004)

    The collages’ vague sense of time and place is located somewhat more precisely by their title, 1954 (all works 2004), which refers to the 1954 edition of the German architectural journal Baumeister, from which the pictures are taken. Germany in 1954, after two lost decades and the horrors of war, was tentatively starting to rebuild its traumatized national morale (helped in no small measure by the country’s unexpected World Cup victory that same year.) And, despite the absence of the country’s greatest modern architects, Walter Gropius and Ludwig Mies van der Rohe, architecture flourished in the steady rebuilding of cities reduced to rubble by Allied bombing, and was characterized by a cautiously optimistic Modernism. This was the year that Mies began his monumental Seagram building in New York, but the pictures Sarcevic collects here are more modest examples of a socially oriented Modernism, felt at the time to be not only an expression of, but also a form of active participation in, the creation of Germany’s new democracy. - Kristy Bell, Frieze magazine

    via A Sound Awareness

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    Cao Fei "Play Time" at Lombard Freid Projects

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    Cao Fei "Play Time" at Lombard Freid Projects:

    Play Time Fingerboard Park Installation, 2011

    East Wind, 2011 video (still)

    Shadow Life, 2011 video (still)

    With Shadow Life, a work composed of three distinct narrative sequences Cao Fei invokes the days of childhood. The narrative draws upon the remembrance of a Chinese Spring Festival Gala celebration that ran on China’s official Central Television...In East Wind, the charmingly naive smile of Thomas, the British cartoon train engine, is superimposed on the front of a Chinese-manufactured Dong Feng truck (literally “East Wind” truck), which barrels across urban highways and overpasses with a single mission: to deliver refuse from a construction site in the city to a trash dump on its outskirts. The title of this work has clear historical overtones centring on Mao Zedong’s famous declaration that the east wind prevails over [the] west wind. This statement is associated with Mao’s so-called Third Front strategy, which sought to protect China from invasion by foreign powers by building industrial installations in western China. China’s “East Wind” (Dong Feng) automobile was founded in 1969 as a part of this campaign. But today, as this Western face is married to the Dong Feng truck, the power relationship between the two take on an indeterminate quality, just like the plight and pattern we see in the real world...

    With a reconstituted urban model, Cao Fei’s installation work, Play Time perpetuates the open space created in RMB City, which offers a mode and mentality for more people to enjoy and participate in. In this fingerboard skate park sculpture, the buildings that Cao Fei uses as references come from all over the world. They are all charged with authoritarian and mystical connotations and take the form of some sort of belief. In this ...

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    New Scientist Report on "Your digital legacy"

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    Special report in New Scientist's May issue on digital archiving and legacy:

  • The fate of your online soul:We are the first people in history to create vast online records of our lives. How much of it will endure when we are gone?
  • Archaeology of the future: Future historians will want to study the birth of the web using our digital trails – but how will they make sense of it all?
  • Respecting the digital dead: How can we keep digital bequests safe without poking our noses where they're not wanted?
  • Amateur heroes of online heritage: It'll take more than money alone to preserve today's internet pages for posterity
  • Teaching the net to forget: We've begun to accept that the internet cannot forget, but the power to change that has been in our hands for decades
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