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Emoticon, Emoji, Text: Pt. 1, I Second That Emoticon


(This is the first in a three-part sequence to be published on Rhizome.) 



“A new word is like a fresh seed sewn on the ground of the discussion.”
 -- L. Wittgenstein, Culture and Value (trans. Peter Winch) 



“If writers wrote as carelessly as some people talk, then adhasdh asdglaseuyt[bn[ pasdlgkhasdfasdf.” -- L. Snicket, A Series of Unfortunate Events

By September of 1982, the Computer Science Bulletin Board System at Carnegie Mellon University was a social hotspot, at least for certain science professors and tech geeks. Bulletin Board Systems (BBSs or bboards) pre-date the Web as such; they allowed users to dial into a local hub, through which they could send messages to and receive messages from other machines dialed into the same hub. Dating back to 1978, bboards didn’t get popular until the 80s, following the 1981 release of Hayes Communications’ cheap and effective Smartmodem, which made hosting bboards more affordable and using them less arduous, if still not entirely intuitive.

Bulletin Board Systems became popular on many college campuses, absorbing some of the discourse of the hallway and the common room, and attracting those people—like physicists and Heideggerians—predisposed to adopt hobbies with steep learning curves.

Bboards were not only localized but divided into discussion groups, each developing their own jargons, rituals, and codes of conduct. The Computer Science BBS at Carnegie Mellon was used, inter alia, for complaints about and discussions of school laboratories, the proposing of elaborate hypothetical experiments, and joking around at an advanced level about atoms and alkaloids.

Prankish posts on the CMU CS discussion group were generally taken in stride. But because threads could be hard to track—with abruptly dropped topics; shifts and stutters—context could quickly be lost and readers confused.

At around noon on September 16th, 1982, and in response to a similar scenario involving pigeons, Neil Swartz posted the following hypothetical situation to the CMU CS BBS:



There is a lit candle in an elevator mounted on a bracket attached to the middle of one wall (say, 2" from the wall). A drop of mercury is on the floor. The cable snaps and the elevator falls. What happens to the candle and the mercury?

About five hours later, and after a number of unrelated messages, Howard Gayle wrote a message with the heading, “WARNING!”:

Because of a recent physics experiment, the leftmost elevator has been contaminated with mercury. There is also some slight fire damage. Decontamination should be complete by 08:00 Friday.

Rudy Nedved tried to prevent mass hysteria:

The previous bboard message about mercury is related to the comment by Neil Swartz about Physics experiments. It is not an actual problem.



Last year parts of Doherty Hall were closed off because of spilled mercury. My high school closed down a lab because of a dropped bottle of mercury.



My apology for spoiling the joke but people were upset and yelling fire in a crowded theatre is bad news....so are jokes on day old comments.

Neil Swartz, who posed the original question, later replied:

Apparently there has been some confusion about elevators and such. After talking to Rudy, I have discovered that there is no mercury spill in any of the Wean hall elevators.

Many people seem to have taken the notice about the physics department seriously.



Maybe we should adopt a convention of putting a star (*) in the subject field of any notice which is to be taken as a joke.

Joseph Ginder liked the idea, but had his own take:

I believe that the joke character should be % rather than *.

To which Anthony Stentz added:

How about using * for good jokes and % for bad jokes? We could even use *% for jokes that are so bad, they're funny.

“No, no, no!,” wrote Keith Wright:

Surely everyone will agree that "&" is the funniest character on the keyboard. It looks funny (like a jolly fat man in convulsions of laughter). It sounds funny (say it loud and fast three times). I just know if I could get my nose into the vacuum of the CRT it would even smell funny!

On September 17th, user Leonard Hamey proposed, with his own somewhat elaborate justifications, that a pictogram should be used to represent joking, as opposed to a more basic cipher:

I think that the joke character should be the sequence {#} because it looks like two lips with teeth showing between them. This is the expected result if someone actually laughs their head off. An obvious abbreviation of this sequence would be the hash character itself (which can also be read as the sharp character and suggests a quality which may be lacking in those too obtuse to appreciate the joke.)

Hamey’s idea must have caught the eye of CMU professor Scott Fahlman, because two days later, in a rather brief missive, Fahlman offered his own pictogram:

I propose that the following character sequence for joke markers:

:-)



Read it sideways.



Actually, it is probably more economical to mark things that are NOT jokes, given current trends. For this, use

:-(

Scott Fahlman’s suggestion could have—like Niel Swartz’s, Joseph Ginder’s, Anthony Stentz’s, Keith Wright’s, and Leonard Hamey’s—been quickly forgotten. But Fahlman’s smiley garnered a peculiar reaction: people started using it as a specific basis for minor variations. Within two days, the CMU CS bboard had not just:


:-)


and:



:-(



but:



:-o



and:



:-|

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Link Editions publishes new book, Best of Rhizome 2012


Link Editions publishes the Best of Rhizome 2012.

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Prosthetic Knowledge Picks: Slitscan


A collection of examples from the Prosthetic Knowledge Tumblr archive on the subject of Slitscanning, a photographic effect that creates distortions and occasionally insightful images based on time.

The slitscan effect has, of-late, had something of a renaissance over the past year thanks to digital technology. Once a time consuming and expensive technique, coders have created their own solutions (either personally or commercially in the mobile app market). For the uninitiated, it has been defined by Golan Levin thus:

Slitscan imaging techniques are used to create static images of time-based phenomena. In traditional film photography, slit scan images are created by exposing film as it slides past a slit-shaped aperture. In the digital realm, thin slices are extracted from a sequence of video frames, and concatenated into a new image.

Below are some examples of creative coding with the slitscan technique:

Volumetric Slitscan Experiments by Memo Akten

The slitscan technique is a well-explored method in photography and video, but this is the first time I have seen it using a Kinect camera feed, where depth plays an additional factor. Two short videos are embedded above, and they are made more fun by the music (dancing to Nina Simone’s “My Baby Just Cares For Me”).

Work-in-progress prototype for an upcoming project involving volumetric slitscanning using kinect (should it be called surface-scanning?). Similar to traditional slitscanning ... but instead of working with 2D images + time, this technique uses spatial + temporal data stored in a 4D Space-Time Continuum, and 3 dimensional temporal gradients (i.e. not just slitscanning on the depth/rgb images, but surface-scanning on the animated 3D point cloud).

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Wired Differently: Joel Holmberg at American Contemporary


Installation View: Joel Holmberg, Soft Laws (2013), American Contemporary, New York

If we look back at the community of artists associated with the surf club Nasty Nets, including John Michael Boling, Michael Bell-Smith, Aleksandra Domanović, Joel Holmberg, and Kevin Bewersdorf, to name a few, we’ll see that they’ve continued on extremely heterogeneous paths. Some, such as John Michael Boling and Kevin Bewersdorf, have slowed down or halted their artistic practices to pursue careers in IT or other ventures, while others—say Aleksandra Domanović and Michael Bell-Smith—have enjoyed considerable success in the art market, both artists being represented by notable commercial galleries. Holmberg, the subject of this article, gained attention in 2010 for his existential-yet-slightly-trolling Legendary Account included in Free, curated by former Rhizome Executive Director Lauren Cornell. For Legendary Account, Holmberg asked the normally utilitarian Yahoo! Answers site questions such as “Does having a crummy day-job help stimulate your creativity?”, “Is it possible to jet ski or sea doo in the dead sea?”, or “How long does post-coital last?”. Holmberg and Cornell exhibited blown-up, printed documentation of the account at the New Museum, and the account is now archived on Rhizome’s Art Base.

Two years later, Holmberg studies at Yale’s Master of Fine Arts Program and has launched his first commercial gallery exhibition in New York at American Contemporary (previously Museum 52) in NoHo. Holmberg’s Soft Laws presents an array of sculpture divergent in size and material. We see a plaster-covered lamp shade, jib crane, fiberglass chair built on top of a filing cabinet, ceramic tile, pencil wall drawings, etc.—these works unified by their almost slapdash handmade nature and implicit sense of humor. While Holmberg’s humor has always been prevalent in his oeuvre, the heightened, studio-born materiality of his newer work may seem something of a new thing. Like his humor, connecting the artist’s process is his tendency to continually relate back to how our identities can be subsumed by clichés, platitudes, and larger systems of thought by the relationships and interactions that they script.

If Holmberg’s Legendary Account sought to de-script the Yahoo! Answers format by introducing the site to an air of jocularity and existentialism, his new sculptural works in Soft Laws exaggerate and re-script common artistic materials as well as the popular characterization of the artist. Take the painterly Emotional Bioré (2012), one piece in a series of five large wall-mounted works using ceramic tile as a base with plaster pushed through back to front—mimicking, the artist says, the functionality of backlit digital screens. Sourcing sheets of tile that have yet to grouted, Holmberg considers the medium of the tile to be a scripted material that prompts the user’s action (i.e., there are grooves between individual tiles, and they will only adhere to a surface if one grouts them, thus one must grout them. This effect isn’t terribly unlike the act of posting a status update to social networking sites in order for it to be liked. For example, I’m going to post a photo of myself smiling on the beach so that my friends will confirm how relaxed and tan I look.) Holmberg douses the plaster composition’s front with printer ink while it sets, imbuing it a saturated, CMYK feel. When splattered, the ink changes the topography of the plaster to appear similar to a lunar surface or Pollock-inspired drip, itself a scripted gesture pointing toward the bravado of the oft-drunk, late-Modernist abstract expressionist painter—perhaps pop culture’s favorite portrayal of the romantic, tortured artist.

Joel Holmberg, Verner Panton Chair with Filing Cabinet (2012)

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Prosthetic Knowledge Picks: Typewriter


A collection of examples from the Prosthetic Knowledge Tumblr archive and around the web on creative projects and installations which employ the typewriter as part of the work.

On Journalism #2 Typewriter

Installation piece connects computer to typewriter that generates stories about journalists who have died since 1992. By Julian Koschwitz:

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MRAs and WTFs: A Context for "Nice Guys of OKCupid"


''We're not psychologists. We're math guys,” remarked Sam Yagan, the chief executive of OKCupid. He wasn’t being self-deprecating.

OKC suggests romantic pairings based on information gathered from a sprawling, seemingly endless questionnaire. When filling out the questionnaire, users are also asked to rank the relative importance of each question and to say which answer or answers they would prefer in a partner. Users, in other words, describe to the OKCupid database their ideal “match” as a set of data points.

Because users are generally able to intuit the basic parameters of how the system works, they upvote the questions most likely to be useful in narrowing down a pool of millions of strangers—that is, the questions most likely to be incredibly divisive. A good OKCupid question is like a good question in a game of “Guess Who?”--one that eliminates the most candidates.

The questionnaire asks users to provide their own definitive standards for in-group and out-group belonging. Then, in their profiles, users are expected to distinguish themselves within their chosen group or groups through a combination of photographs and prompted text.

OKCupid profiles are sort of like really long pick-up lines pitched at an imaginary “perfect match.” In general, they show humanity in a humiliating light, and various OKCupid users have taken it upon themselves to liberate the profiles of others, condensing them into image macros and sharing them outside the context of the site. The ethics of this are out of focus, because the culture has not yet decided where sites like OKCupid fall in terms of public vs. private space, and what reasonable expectations people can have when they join these sites.

The found OKCupid profile has become one of the Internet’s most unsettling genres. Part Cindy Sherman film still, part Robert Browning monologue, the best found profiles match the uncanny visual embodiment of a cultural type with an elliptically unraveling text of unconscious self-revelation.

For example:

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Matthew Plummer-Fernandez For Rhizome's Community Fundraiser


In the final week of Rhizome's Community Fundraising Campaign, we profile seven artists hand-picked by Rhizome to generously contribute artworks, ensuring you receive compelling thank you gifts at every donation level. Give now to receive one of these works.

Matthew Plummer-Fernandez is a London-based artist who combines scanning, 3D printing, and computational approaches to make remixed art objects. His 3D printed works expose the limitations of the technology and the glitches that occur when translating real objects into digital ones.

In his Digital Natives series, Plummer-Fernandez samples everyday household items, remixes them using his own software, and then 3D prints them using a z-corp printer with a color resin, in order to blur the line between the real and the digital. Once functional objects are rendered useless, but beautiful, in their new algorithmically abstracted forms. Laura Davidson reviews Plummer-Fernandez's work for Rhizome, noting he takes: "...a more creative approach to engineering... His work proposes new ways in how we discuss the process of making a crafted object. Algorithms and their parameters become a tool to be mastered in the same way a lathe or a chisel would be... The results are almost alchemic and magical."

For Rhizome's Community Fundraiser, Plummer-Fernadez has donated two limited edition pieces from the Digital Natives series, available at the $1,000 level. The designs were based on a scan of a typical yellow ceramic jug and transformed using the artist's software. These unique table sculptures will be printed in the color of your choice. 

Images courtesy of the artist

 

You will also become a member of the Rhizome Council, a leadership council for significant supporters that brings you closer to Rhizome. As a member, you will be invited to special Council-only events including intimate studio visits with entrepreneurs and artists in ...

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Best of Rhizome 2012


Hidden Information: An Interview with Jim Sanborn

Essays

....

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