Posts for July 2012

Artist Profile: Korakrit Arunanondchai

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Installation "2012-2555"

Can you talk a little bit about the relationship between designing products like clothing and creating immersive installation environments, both of which rely on the element of "social participation," which you've described as essential to your work?

An idea I have been throwing around for a while now is "any surface can be a painting?" That said, I left my clothing line behind in 2010 because I realize that it was not doing what I wanted it to do. The original idea for the clothing was that the audience wearing the clothes with my patterns on it would blend in with the immersive black-light installation. These installations usually have a live-musical component to it and the audience's movement to the music would create an active surface to the installation. I quite like this harmonious audio-visual experience when it does happen.

The idea of social participation is still really important in my work, although currently I am holding back and reconfiguring my strategies towards social participation. 

I was really fortunate to spend quite a bit of time with Rirkrit Tiravanija over the past year and see him in action. He is a master at opening up a space in his work for the audience to experience and discover things for themselves and I am trying to incorporate some of that quality in my future pieces. 

Much of your work concentrates on the depiction of movement for its own sake, divorced from the representation of objects in space. The affect is achieved using dense layers and bold colors. What influences these instances of abstraction?

If the world we see is a painting and everything is made from the same substance, then all you essentially see are different colors and shapes vibrating at different speed. I wanted my abstract ...

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The Download: Kari Altmann

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tv2.jpg + orange_hyde_slideshow.mov from World Class GFX Pack (On the DL) (2012)

 

Rhizome is pleased to announce the lastest Download featuring World Class GFX Pack (On the DL) by Kari Altmann, a wifi-based artist with interests in algorithms, art direction, and the mutation that occurs as things travel through systems of production and exchange. Mimicking the form of a graphics pack that users can download in a number of online marketplaces (or rip from black market torrent sites and filesharing communities), Altmann offers up a range of world class effects and elements from her own projects that can be used and repurposed to add extra value to yours.

The Download is accessible to all Rhizome members. If you would like to start your own collection of digital art, become a member today.

 

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Art In Your Pocket 3: Sensor Driven iPad and iPhone Art Apps

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 PXL, Rainer Kohlberger, 2012

As the iPhone just celebrated its fifth year on the market, artists have already made a substantial dent in the commercially lucrative world of Apple’s AppStore. Despite this success, artists are still pushing forward to build apps that further integrate with the device’s sensors and location-based capabilities. Rather than working solely within the context of software art as I have covered in two previous articles on the subject for Rhizome, there is a focus now on artists who are interacting with the physical world by using the device’s internal sensors, location capabilities, constant Internet connectivity, and built-in cameras.


 

“Konfetti”, Stephan Maximillian Huber, 2012

 

Using the camera as a sensor, “Konfetti” by German based designer Stephan Maximillian Huber visualizes the image of its subject into countless dots. In effect, the camera image is translated into virtual confetti that follows any movement and creates an ever changing images based on which camera is selected. The dot’s movement is correlated to the detected flow captured by the camera and by repelling other dots, which also move as you touch and drag them. Huber explains over email how the app works as a reflection based art tool. “The app started as an iPad-only app, and on an iPad the app acts like a mirror, showing an abstract reflection of yourself. You'll get a clear image of yourself only when you concentrate on the process of the app, and don't move too fast. It's like contemplating about yourself and the image of yourself. And as your thoughts and emotions aren't static the image the app generates is dynamic and adapts to minimal movements and new ...

 

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Eli Keszler's Piano Wire Works

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eli keszler : cold pin from eli keszler on Vimeo.

New York-based musician and artist Eli Keszler integrates piano wire into his compositions in a way that falls between installation and improvisation. For Cold Pin, motorized beaters controlled by a generative sequence struct 14 piano strings hung across the wall of Boston's Cyclorama in 2011. Keszler then invited Ashley Paul, Greg Kelley, Reuben Son and Benjamin Nelson to play off the work, improvising alongside the randomized clunks, scraps, and bangs emanating from the wall.

His recent L-Carrier at Eyebeam complicated this format by activating the motors in tandem with a changing visual score designed by Keszler. Hosted on a dedicated website commissioned by Turbulence, these images evolved when visitors tripped up "targets" on the site that interfere with the code, modifying the pattern of the motors. On June 7, Keszler again played in a seven piece ensemble in conjunction with the installation, including musicians Ashley Paul, Anthony Coleman, Alex Waterman, C Spencer Yeh, Catherine Lamb, Geoff Mullen, and Reuben Son.

In both compositions accompanying Cold Pin and L-Carrier, the installation serves not as a simple backdrop, but a central element. On their own, the installations continue to have a commanding presence. Unlike the extended resonating tones of Ellen Fullman's Long Stringed Instrument, which meditatively fill a room, Keszler's approach to auditory space reveals his training as a percussionist, where the plucks are akin to hits - busy, feverish and complex. Taken out of an enclosed environment, such as in Collecting Basin, piano wire is not only responsive to the whims of the motor beaters but also the wind and the elements. Here, Keszler hung the wire from a large water tower, transforming an industrial space into an open air instrument.

Eli Keszler Collecting Basin from eli keszler on Vimeo ...

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Declaration of Internet Freedom

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On July 2nd, a consortium of organizations concerned about the future of a free and open internet, published a document framing four essential principles. The Declaration of Internet Freedom was designed with the understanding that if regulation of the internet is inevitable, we must define the essential qualities of an open internet to preserve in any future legislation.

At Rhizome, not only do we support the idea that a free and open internet can make the world a better place, but believe it is crucial for the future of online creative communities. We have set up a microsite where you can amend, edit, debate and discuss the original declaration. We hope to open a dialogue here, and encourage you to consider how these principles apply to artistic practices on the web.

 

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Prosthetic Knowledge Picks: The Algorists

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Kubo-Oktaeder, 1971 by Ludwig Rase + Georg Nees


A collection of items from the Prosthetic Knowledge Tumblr archive and around the web, focusing on a collection of European artists who since the 1960's have independently been creating art with the computer, and in 1995, became known as 'Algorists'. 

 




Below are five artists picked with accompanying animated gifs of their work. For a more expansive investigation, check out the links at the end of the piece:

Definition of an Algorist:

if (creation && object of art && algorithm && one's own algorithm) {
     include * an algorist 
} elseif (!creation || !object of art || !algorithm || !one's own algorithm) {
     exclude * not an algorist 
}


Herbert W. Franke 




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VHS @ MAD

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From Jerusalem

In the late 70s, the film medium's intellectual monolith Hollis Frampton announced that the video frame was "a degenerate ameoboid shape passing for a rectangle to accomodate cheap programming of late night movies." Never has this fact been more gloriously indulged than at the Museum of Art and Design's ongoing three-month celebration of everyone's magnetic tape: VHS. The series traces VHS' impact on every facet of the movie process from production to distribution, including workout tapes.

VHS assumed the throne of consumer videotape formats after defeating competeing Betamax and VX technologies. Rebecca Cleman, distribution director of Electronic Arts Intermix and one of the series' co-organizers, stressed that VHS was "an inferior format, that won over Betamax primarily because it could boast longer recording times. The poor quality of VHS, of course, makes it represent decaying technology, which always gets fetishized."

Video continues to maintain an aesthetic presence within the art world. From pioneers to contemporary practicioners, qualities associated with the aesthetic of VHS--a warm, gummy image, static lines and the low quality that comes from infinite playback--have become standbys of the gallery scene. Tonight, Cleman will present a lecture entitled Aesthetics of Analog, which will investigate the qualities of consumer video recording processes. Said Cleman: "It’s important to think beyond the VHS tape, to understand that this is part of a system of components – television, VCRs, camcorders – that created a really new culture (as of the 80s) of home video, that was very different than home movies (from film) . . . video engenders a participation that folds spectator, producer, and distributor into one." 

In June, MAD showcased works like Herschell Gordon Lewis' 1967 psychic adventure Something Weird, the inspiration for Something Weird Video in 1990, which revivified Lewis' film along with works classics by Doris Wishman ...

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Linear Development

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Installation view of Pohflepp's "Forever Future" at the Wind Tunnel Gallery in Pasedena

Artist Sascha Pohflepp's recent work "The Tsiolkovsky Trick," sourced from models of space rockets via Google's 3D Warehouse, visually embodies a particular understanding of techno-history. In his essay "Lagrangian Futures," Pohflepp explains that in 1903 Konstantin Tsiolkovsky "published a scientific article titled 'Investigation of outer space rocket appliances,' in which he proved that a propelled object could perform space flight if throughout the launch would shed parts of itself." Later in the essay, Pohflepp expounds:

Technology, although shrouded in notions of logic, reason and profit, is a largely narrative endeavor anyway. Futures have to be thought before they can be built or sold and their thinking as visions, myths and also plain lies provides what Norman M. Klein fittingly refers to as “fantastic infrastructure.” It is hardly surprising then that both Tsiolkovsky and [Jack] Parsons had a great interest in science fiction. Before he published in scientific journals, Tsiolkovsky had been writing fiction, only one year before his first influential theoretical article, he had published a novel about space colonization titled “Dreams of the Earth and Sky.”

The Tsiolkovsky Trick

Any attempt to construct a linear narrative of technological process faces countless hurdles. In embodying this narrative, Pohflepp's reveals its inadequacy through simple scrolling. Tsiolkosky's trick, of course, is narrative itself. Just as past serves as prologue, so too does the imagined future. Pohflepp's emphasis on the narrative impulse echoes an eternal critical obsession. While dreams and science fictions undoubtedly form a discursive basis for any potential future, the form of narrative itself may conceal as much as it displays. Paul Ricoeur reminds us that the stakes here may be higher than they appear: "Ultimately at stake in the case of ...

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The Center for Land Use Interpretation: "More To Be Discovered Than We Have Ever Imagined"

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CLUI Archive photo

Founded in 1994, The Center for Land Use Interpretation is both an essential and furtive organization. In the Center's 2006 publication Overlook: Exploring the Internal Fringes of America with the Center for Land Use Interpretation, founder Matthew Coolidge shares his hope that after reading the book, "You forget about us–the Center." What matters to Coolidge is that after an encounter with the Center, "You come away with a widened sense of awareness of the physical world that surrounds you." Aside from its physical locations scattered across the country, the Center provides an online Land Use Database of "unusual and exemplary sites throughout the United States." The database catalogues sites as diverse as an abandoned pyramid project in Bedford, Indiana and the Cannikin nuclear test site on Alaska's Aleutian Island Chain. As an ongoing project, the Center is dedicated to the creative interpretation of America's already radically transformed and continually changing landscape and utilizes a decentralized model of research and inventory.

Abandoned Pyramid Project in Bedford, IN

Overlook offers this explanation of how locations are selected: "The Center regards a site as 'unusual' if it stands out as unique, extraordinary, singular, rare, or exceptional. An example might be a piece of land art of a plutonium processing facility. A site is considered 'exemplary' if it serves well to represent a more common type of land use, if it is especially articulate, descriptive, coherent, or concise. Or if it represents an apogee of its type: perhaps it's the first, the largest, the smallest, or has some other superlative quality."

Essential to the Center is the process of interpretation without the burden of encyclopedic objectivity. It offers residencies to a variety of interpreters, who engage in a creative process of understanding and interpretation. The Center ...

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"Standard Remote" by Dena Yago

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A crater dismounted facing towards

One problem

Natural counting towards two a surface

You said ‘immaleable ruin’

That settles in the palm of a hand

 

Development psych

Standing in it’s shadow

Giving a one way signal

Like no one is home

 

Cosmic accents

Back and forth

Like where are you from

Anyway

 

Make from me leaned over

A sitting desk

A standing desk

 

Five thousand bookmarks

Returning numbers in fines

I have paid for this in interest

Down-paid

Discomfort

 

Swung open

A revolving door turns unconvinced

Pre-paid

 

I am still at home

I have not left yet

I am in Queens

 

What one line can accomodate

A text wrap around

That one.

 

Alternative to a shade of preparation

Alternating between white and another white that you notice less

Putting one glove on takes two hands

And what can my cold hands say to that?

 

Standing on gravel

site specific self identifying

As gravel

 

Layout interrupted

A path following

An aluminum Swiss water bottle

 

A transcription:

She told me they sell no deodorant here

I knew she was lying I asked

Why I know that you are lying

She told we do but they don’t need deodorant here

I knew she was lying

I said you are lying

She said you are the salt of the earth

 

With one hand held over two breasts

No dark storm can rage over two breasts

With one hand

And cream shirt worn

Into a dark 3 p.m. screening

Of my life my love

This love is truly abated by

No one else’s breasts

 

A distant swiss watch chimes background fade

Powdered marble on powdered marble on

An unlined t shirt

Cognito ergo sum

 

Index finger in hot black coffee

There is no aporia in heaven

She said wiping her nail ...

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