Wake up, sleepyhead. Art21 just posted their profile of Shana Moulton and Nick Hallett's opera, Whispering Pines 10, presented by Rhizome at the New Museum in 2011. Not only do Moulton and Hallett come off as the sweetest performance artist/composer collaborative duo ever, but the documentation of the projection-oriented opera isn't bad either.
Photograph posted to Twitter by Engin Onder on March 20, 2014, with the caption: "#twitter blocked in #turkey tonight. folks are painting #google dns numbers onto the posters of the governing party." The poster shows the AKP candidate for Eskişehir.
Last Friday, DNS-themed graffiti and memes began to appear in Turkish streets and on the web, bringing the normally unnoticed architecture of the internet into public discourse.
The sudden focus on DNS, the system that translates a URL into its corresponding numerical IP address, was prompted by Prime Minister Recep Tayyip Erdogan's decision on March 20 to ban Twitter. Court orders were issued to Turkish internet service providers, who apparently implemented DNS redirects, meaning that requests for "twitter.com" would be routed to a different IP address and shown a warning page.
This kind of block is not particularly effective; users can easily circumvent it by using a public DNS server. Instead of sending the request for twitter.com to a Turkish ISP, users could simply change their computer's network settings and send the request to Google or OpenDNS, or any number of international, publicly available DNS servers. While this is easy to do, it's perhaps not widely understood, and so fans of internet freedom took to the web and the streets to spread the word about the DNS workaround.
4 Apr 2006
Hello Chris. Thanks for taking an interest in my work, and Jayson's as well. Below are my answers in blue.
1. How integral was Jayson Whitmore's involvement with you on the Winchester series? I noticed that you thanked him first in the introduction to the book of the exhibit. Did he do a majority of the animating and compositing of your imagery/drawings/abstractions, etc? Or was his role more to provide technical experience when you needed it and had questions?
Jayson Whitmore is the total motion graphics pro. He makes life easier on me because I can describe something to him and he can help me do it without much trouble. That said, its not the main reason I choose to collaborate with Jayson, because there are many people trained the way Jayson is trained, just as there are many people trained to draw and paint like I was trained. My work is also very technically simple, so technically Jayson is holding back some of his skills when he does my stuff. The reason why I always try to work with Jayson Whitmore first is because he's got a GREAT musical ear. He's got a sense for the timing of the movement and the content of the art that qualifies him as an artist in his in right. Its always an honor to work with people as outstanding and insightful as he is. The same can be said for a man named Jonathan Karp who helps us with sound, Brendan Canty from the band Fugazi who's done music with us in the past, and all the other great people I've been lucky enough to work with. I've been very fortunate to have such good people around me. Jayson is an unbeatable talent and has spent years learning the techniques he knows, and he frees up the time I need to perfect my imagery.
Molly Dilworth, 547 West 27th Street (2009). From the series "Paintings for Satellites."
In the early 2000s, as location-aware devices first became commonplace, there was a lot of hype surrounding their potential creative use by artists. However, over time, this initial enthusiasm for "locative media"--projects that respond to data or communications technologies that refer to particular sites--leveled off, even dissipated. Regardless of this drought, geospatial technologies are widely used, and play an important and often unnoticed role in conditioning many aspects of our existence. Responding to this condition of ubiquity, artists have continued to use locative technologies critically, opening up closed systems, making their effects visible, and reconfiguring our relationship with such systems.
Thursday, 2:30 am, four drinks deep, at the old Night Gallery Space, some schmoe is coming around the crowd with a lockbox and deck of cards, telling us to hand over our cell phones. "None of this can be recorded, you guys." I get a pat down, give up nothing, phone tucked safely in my coat. Most get snagged with a grunt or a whine. The process is endless. My traveling companion is on his third cigarette. (If there is one redeeming quality of this VIP-themed performance series / curatorial-themed party called Top 40 that has smeared across my last few weeks, it's that you can smoke inside.)
We're recovering or repressing. We just watched Vishwam Velandy leave a series of messages for women he claimed to have slept with, informing them, between "uhhs.." and chuckles, that he had seen a doctor and they'd better too, because he'd just been diagnosed with HIV. Then, after endless minutes, I'm getting squashed with elbows and shoulders, alternately averting my eyes and craning for a view of the floor in front of the DJ booth, where, with frat party fanfare, Eugene Kotlyarenko's girlfriend is inserting a zucchini into his ass, and a curious, deeply unpleasant combination of boredom and offense is flowering in my insides like Giardia.
An artist's impression of Rosetta waking from deep-space hibernation to rendezvous with Comet 67P/Churyumov-Gerasimenko in 2014. © ESA, image by AOES Meidalab.
In May, the Rosetta spacecraft will make its final approach toward the comet 67P/Churyumov–Gerasimenko, after patiently stalking the space rock for ten years. As the comet approaches its perihelion, it will slow to dig its foot into a gravitational eddy and steer itself around the sun. As it emerges, Rosetta will strike, launching a sensor-packed lander like a javelin into the side of the comet. Harpooned in place, the lander will allow us to reach out across the cosmos and caress a billion-year-old piece of the solar system.
The experiments are scheduled to last two months, after which Churyumov–Gerasimenko will have arced around the sun and begun accelerating back out into deep space. When it does, it will take with it a small piece of humanity anchored to its side. Forever after, this relic of early 21st century technology will remain looping above us, a time capsule buried ten years deep in space.
Tracy Jeanne Rosenthal and friends.
After a successful conclusion of our 2014 Community Campaign yesterday, there are many positive feelings, and many things to say.
The format was an experiment. Our annual campaign, which is a significant part of our income each year, was shorter than ever before. We recognize that nature of online giving has changed since we started our appeals in 2001, and are sensitive to this now-crowded space. Inspired to innovate with our format by the success of 2009's $50,000 Web Page (which is still online, and well worth a look), we hoped that a grand finale, the 24-hour Internet Telethon, would carry us over the edge of our $20,000 goal. It did, in dramatic fashion. With just 20 minutes left, longtime Rhizomer and Telethon participant Tom Moody made the donation that carried us over the finish line.
This post was composed in one hour in front of an online audience for the Rhizome Internet Telethon 2014.
Tom Moody, Double Buckyball (detail of work in process), 2004, mixed media, approx. 60 x 40 inches.
Nearly a year ago, and not long after I started working at Rhizome, I published a post called “Breaking the Ice,” inviting the community to leave their thoughts about our curatorial and editorial direction. It took a while to get started, but eventually some of the Rhizome old timers latched on and got the ball rolling. As my introduction to the Rhizome community in my new role, it painted quite a picture. Heated opinions were debated, n00bs were put in their place, and frustrations were vented. Despite a sometimes negative tone, I was excited by the energy that people brought to it. And the fact that, y’know, people were commenting on Rhizome.org, a non-profit website that serves as an important cultural archive, rather than on a for-profit site that will sell your data to the highest bidder.
A telethon. All day. All night. We are doing this. Will you donate to support?
11am-11am EST, March 19-20. 24 hours. Wow. That's a lot of hours. But we are going to fill those hours with some of the internet's best, on view via the front page of rhizome.org.
After the break, we've included a schedule to get you pumped. If you're in NYC tomorrow, stop by Lu Magnus, our host at 55 Hester. If you're anywhere else, join the hangout for some screen time. And, for real, D O N A T E.
Image courtesy of Graham Harwood.
How does the way war is thought relate to how it is fought?
As the Afghan war unfolds, it produces vast quantities of information that are encoded into database entries and can, in turn, be analyzed by software looking for repeated patterns of events, spatial information, kinds of actors, timings, and other factors. These analyses go on to inform military decision-making and alter the course of events in the air and on the ground.
On July 25, 2010, WikiLeaks released a large amount of this normally classified information as the Afghan War Diary, comprising over 91,000 (15,000 withheld) reports covering the war in Afghanistan from 2004 to 2010. The reports were written by soldiers and intelligence officers and calculated by clocks, computers, and satellites. The primary source of the Afghan War Diary is the Combined Information Data Network Exchange (CIDNE), a database created by the US Department of Defense (DoD).