Material that has been brought to the XFR STN open-access media conservation project is now beginning to appear online at the Internet Archive, and there are some real treasures. One of these is Human Vectors by Dov Jacobson, included on a 3/4" videotape brought to the XFR STN by Phil Sanders. The tape included a compilation of works itled EVTV2, originally shown at Sanders' art-and-technology focused East Village RYO Gallery in the early 1980s. The piece caught our eye because of its apparent use of a vector-based computer animation system (for more on vector graphics, see this recently published interview). Jacobson gave us some background on the piece via email. — Ed.
Between now and September 8, Rhizome and the New Museum are inviting artists to make free-of-charge appointments at the XFR STN exhibition to transfer their obsolete digital media and videotape to more stable formats, with the help of conservation specialists. Here are five salient facts about the conservation of born-digital materials:
1. Many digital media formats will become nearly impossible to access in the coming years, because the hardware used to access this media is no longer manufactured, and will not last forever. As a result, your digital files will be lost to you, and to posterity.
2. After transfering your digital files to more stable formats, you are under no obligation to share them with us; you will be given the option to transfer them to the Internet Archive, if desired.
3. We are accepting the following digital formats: 3.5” and 5.25" Floppy Disk, Zip Disk, JAZ Disk, Compact Disc, and IDE/PATA hard drives.
4. If you do not want to send your materials to the Internet Archive, you must bring your own storage media.
5. You can schedule an appointment here.
See you soon!
Anarchy Dance Theatre
A collection of items from the Prosthetic Knowledge Tumblr archive and around the web around the subject of dance and the creative employment of contemporary technology.
After months of jury deliberation, we have a winner in the limited edition Guy Debord action figure giveaway that we offered on behalf of Verso Books to mark the launch of McKenzie Wark's new book on the Situationists and their legacy. Lisa Temple-Cox of Colchester, UK was the first to answer all twelve questions correctly; Stevphen Shukaitis and Morgan Faulkner were the runners-up. Lisa will win a limited-edition 3D-printed Guy Debord figurine made by Wark; Stevphen and Morgan will win complimentary copies of Wark's book The Spectacle of Disintegration: Situationist Passages out of the Twentieth Century.
Anyone can 3D print their own #3Debord Action Figure. The .stl file, available here, is free and Creative Commons-licensed. Wark reports that of the handful of #3Debords that he personally fabricated, all have now been given away as gifts, mostly to people who knew Debord personally; now the last one goes to Lisa.
Lisa's correct answers are re-printed below.
Yesterday, Engadget and other outlets reported that the USPTO made its final decision to nix a patent filed by Apple in 2007 in an attempt to claim intellectual ownership of a number of touch-screen gestures, including the two-finger "pinch-to-zoom." Melissa Grey reported that "According to documents filed by Samsung in the United States District Court for the Northern District of California on Sunday, [the patent] was found wanting by the USPTO due to it being anticipated by other patents and declared otherwise non-patentable."
The following conversation was re-published with permission from the brand-new publication Spheres by Swiss graphic designer Philippe Karrer. Rafaël Rozendaal and Jürg Lehni discuss their shared interest in vector graphics, which are based on mathematically-defined geometrical entities such as lines, circles, and points, in contrast with more commonly used bitmap graphics, in which values are assigned to grids of pixels.
Rafaël Rozendaal: Vectors are based on mathematical equations. The equations are perfect. No matter how we try, we can never render a perfect circle in any medium. And even if we did, our imperfect eyes would not be able to register its perfection. Do we have to accept that such shapes can only exist in our mind?
This week, there are many deadlines that are relevant to the Rhizome community. You can submit your work to VIDA 15.0, or to Transmediale, or to the Celeste Prize. Someone out there is looking for videos made during the last Manhattanhenge, and someone else wants self-portraits made using a cameraphone and a mirror. Here at Rhizome, we also have an important deadline: today is the last day to apply for the post of Community Manager and Program Administrator at Rhizome. Which means, sadly, that Zoë Salditch is moving on to pastures new.
While at Rhizome, Zoë curated The Download, which offered artworks for users to download and experience on their own computer. She fostered the Tumblr Internet Art Grant, and she organized events ranging from New Silent Series talks and panels to a workshop hosted by The Reanimator Lab where visitors could make hand-drawn animated GIFs, like the Rhizome logo shown above. She leaves quite a legacy, and we can't wait to see what she does next.
Now, without further ado, here are selected events, exhibitions and deadlines this week, all culled from Rhizome Announce.
Marialaura Ghidini, ed. On the Upgrade: WYSIWYG (or-bits.com, 2013).
One of the most intriguing things about On the Upgrade, a series of publications resulting from the activities on online exhibition platform or-bits.com, is the way it considers shifts in formats. At first look, the book series seems like a kind of flexible archive. The web-based projects of or-bits.com are reflected in printed form in the books: artists who contribute to the publication are those who participated in the various online projects of or-bits.com. And the book is used as a way to disseminate, document, or expand the work within a different scheme.
Photograph of Drop City dome. Courtesy: 7th Art.
“This dome feels gooood!” So proclaimed the mellow, avuncular Clark Richert on a breezy early summer evening at the MoMA PS1 Dome in Rockaway Beach, Queens. Richert is one of the world’s experts on dome vibes: he was co-founder of the Drop City community in southeastern Colorado that constructed fanciful geodesic structures out of improvised materials in the mid-to-late 1960s. He and Richard Kallweit, another Drop City founder, were on site to discuss the eponymous film about the collective, which had its NYC premiere in Rockaway on June 21 (the PS1 dome opened in March and was dismantled in late June). Directed by Joan Grossman, the feature-length documentary probed the history and legacy of the seven-year experiment in communal living in which members, in pioneering proto-environmentalist fashion, lived on their neighbor’s castoffs while hunting for car tops and construction materials in dumps and scrapyards from which to build domes of various kinds around their communally-owned property.