Site Specific
Image is an excerpt from Harm Van Den Dorpel's Sleepwalker I, 2007.
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Image is an excerpt from Harm Van Den Dorpel's Sleepwalker I, 2007.
Rhizome News: PopTube
Sue de Beer, Annika Line Trust (Psychedelic Light), 2006 (detail)
Free time this weekend?
Why not fill it with 1 or more of 3 Rhizome-related activities?1) Attend Blank Spots on a Map: State Secrecy and the Limits of the Visible, Trevor Paglen's talk at the New Museum tonight at 7:30pm
2) Buy tickets for the Rhizome Benefit.
3) For our members all over the world: view and vote on Rhizome Commissions. Every year, our community selects two of our seven commissions. Cast your votes today!
A Chorus Line
After its March premiere at the Dark Fair, Wordless Chorus will convene for the second time this Saturday evening at New York's Canada Gallery. Composed by artist Brian Belott and dancer Larissa Velez, the piece involves the participation of over 25 choreographed members howling, singing, and grunting nonsensical verse while wielding props such as chattering teeth and batons. Lounge music is cited as an inspiration for the project, an unsurprising fact considering Belott's love for kitsch and distinct sense of humor, which recalls the media savvy and subversive wit of Michael Smith paired with a Dada-inspired penchant for the absurd. While, evidently, the Wordless Chorus is an event that needs to be seen to be believed, those unable to attend can pick up a limited-edition vinyl record of the ensemble's performance later this year from Grey Ghost Press. - Ceci Moss
Psychoactive Wallpapers (2008) by Roglok
"Welcome to my jazzy collection of Psychoactive Wallpapers. My aim in this project is to generate static and animated .gif images with a low filesize that provide interesting visual effects. I am inspired by the Structural Film movement of the 60's and 70's as well as stereographic 3d images and early webdesign."
See Me, Hear Me: A/V Circa 2008
American Music Center recently published a new issue of their web journal NewMusicBox, titled "See Me, Hear Me: A/V Circa 2008," which attempts to take stock of current audio/visual practice. Towards this end, the issue features four lengthy interviews with the A/V artists Scott Arford, Betsey Biggs, R. Luke DuBois, and the duo LoVid (Tali Hinkis and Kyle Lapidus). While the editors admit the difficulty in establishing an overarching conclusion given the diversity of the practitioners interviewed, they do underscore the increasing presence and significance of "musical art" following the democratization of technology and tools. - Ceci Moss
Rhizome News: New York, New York
Image Credit: Fernando Orellana, Sleep Waking, 2008
Reblog
The Crowd (0-infinity) at Espace d'Art Contemporain La Tôlerie
Artists: Anna Adahl (Sweden), Maurizio Cattelan (Italy), Annika Eriksson (Sweden), Felix Gonzalez-Torres (Cuba, USA), Jiri Kovanda (Czech Republic), Kristof Kintera (Czech Republic), Nicolas Moulin (France), Roman Ondàk (Slovaquia), Claude Rutault (France), Laure Tixier (France), Marie Voignier (France), William Wegman (USA)
Curated by Guillaume Désanges, assisted by Mélanie Mermod (Work Method)
Espace d'Art Contemporain La Tôlerie
May 6th to July 25th 2008
In the lineage of works by Elias Canetti, the motif of the crowd as an echo of the political notion of community can extend to the history of forms. Conceptually, the crowd results from the paradoxical formation of a "collective individuality," a physical gathering of units momentarily sharing a common goal. As a group capable of reaching the "innumerable," the crowd fascinates as much as it frightens through its physical monstrosity and immeasurable power. From a more formal point of view, the crowd's motif refers to the representation of a whole as a sum of specific elements, therefore to the idea of fractals. It also relates to the ornamental tradition of the grotesque, as a chaotic succession that gives a form of order to disorder. An investigation of the crowd, the mass, or the multitude cannot be made without considering the necessary counterpoint: absence, void, the isolated individual facing the world, and his/her relationship to otherness and the group. Therein lies the first stage in the constitution of a community. From this perspective, The Crowd (0-infinity) is constructed according to a continuous script that leads from the one to the multiple.
The first chapter of this evolving exhibition project voluntarily excludes any representation of human crowds. It approaches this complex theme in an abstract, paradoxical manner. The choice of the art works is more sensory than illustrative, more formal than figurative, more intuitive than manifest. The monochrome is thought of as an erasing of the subject. Chaotic or falsely controlled multitudes -- including organic or social structures that operate like the "crystals of masses" -- develop embryos of unit behavior. The issue is to challenge the image of the crowd in a sensitive manner, shedding some light on precarious ties between art works that individually escape thematic circumscription.
[CONTINUED]Private Lives
The New Normal, an exhibition currently on display at Artists Space, assembles works from thirteen practitioners, all of which were made after 2001 and are somehow representative of the emergent conditions of public and private life in America and beyond. Curator Michael Connor borrows his exhibition title from Dick Cheney's notorious post-9/11 speech, in which the vice president characterized the forthcoming encroachments on citizens' private lives as "the new normalcy." What makes Connor's exhibition truly revelatory, however, is the way it proposes this "rise of state and corporate surveillance" to be as definitive, in the shaping of the private sphere, as the willingness of millions of members of the populous to voluntarily make their private lives public, by means of online venues for personal blogging, image and video diaries, and social networks. This trend, if anything, indicates that for the twenty-first century public, "private information is not always something to fear." To the contrary, Connor argues that the power entailed in this type of public disclosure can be harnessed in the service of new forms of cultural production and new "tactics for political critique."
Support for this point can be found throughout the exhibition. Bangladesh-born, U.S.-based artist Hasan Elahi's 2002 airport interrogation by FBI agents, for example, prompted his developing Tracking Transience, a personal website monitoring his spending, calls and location, with photo documentation for support. Elahi's project serves a pragmatic end - as virtual alibi - but does so in a conceptually telling fashion: requiring the artist to internalize state power and subject his life to the degree of scrutiny the government reserves for suspected terrorists. In a similar vein, Palestinian artist Sharif Waked's single-channel video Chic Point (2003) shows a parade of men catwalking in oddly revealing clothing. Fronts and backs of shirts and jackets are cut, rolled, or loosely woven to show certain parts of the body, aiding wearers - the video later suggests - in the often aggressive security proceedings at Israeli checkpoints on the West Bank. While playful in conception, Chic Point, as with many of the works in this exhibition, achieves an incisive form of critique - as much a product of the present geopolitical realities and borrowed tropes of public culture as of the personal vision of its maker. - Tyler Coburn
Reblog
Rhizome Seeks Director Of Technology
We seek an exceptionally smart, responsible, forward-thinking individual to develop and maintain the systems and interfaces that drive our web site and various channels of participation and outreach. The successful candidate will have a penchant for inventiveness, a creative vision for Rhizome's technology strategy, be willing to take on a leadership position and demonstrate a long-term commitment to the job.This is a ~30 hours/week position with benefits. Salary is commensurate with experience.
Application deadline: June 11th, 2008
PRIMARY RESPONSIBILITIES:
+ Set strategy for overall technology development, in collaboration with Rhizome staff and Board
+ Develop features to support creation and viewing of user generated content
+ Management and leadership of a community-based website
+ Build and support website and newsletter publishing of editorial content
+ Manage mailings to editorial and marketing mailing lists
+ Maintain indexing and searching of website content
+ Monitor and adminster web and database servers
+ Provide technical support to users, members, and staff
+ Manage technology assistant and web production interns
REQUIRED QUALIFICATIONS:
+ Understanding of trends and directions in web development and participatory culture
+ Demonstrated interest in art
+ 2 years experience in Linux systems administration, including: Apache, SSL, Majordomo, Sendmail
+ Expert webmaster skills (HTML, CSS, Photoshop, etc.)
+ Expert skill level in PHP and Javascript
+ Significant experience and skills in information architecture and interface design
+ Significant experience in MySQL database design and administration
Email coverletter and cv to dtsearch(AT)rhizome.org; no calls, no faxes.
About Rhizome
Rhizome is dedicated to the creation, presentation, preservation, and critique of emerging artistic practices that engage technology. Through open platforms for exchange and collaboration, our website serves to encourage and expand the communities around these practices. Our programs, many of which happen online, include commissions, exhibitions, events, discussion, archives and portfolios. We support artists working at the furthest reaches of technological experimentation as well as those responding to the broader aesthetic and political implications of new tools and media.
Rhizome is an affiliate of the New Museum of Contemporary Art and based out of their office in New York City.
http://www.rhizome.org
http://www.newmuseum.org
Our dear colleague and friend Patrick May has stepped down after two and a half years with the organization. Patrick has done an exceptional job and we will miss him! We are now seeking a new Director of Technology. Please spread the word.
Type → opportunity, announcement
Genre → tech
Keywords → digital
The Shadow of Right Now
On June 4th, the second iteration of the 01SJ Biennial will open in San Jose, CA. One of the most compelling components of this major international new media event directed by venerable curator Steve Dietz will be an exhibition at the San Jose Museum of Art, entitled "Superlight." The show opens May 10th and appears to offer a very powerful message. Taking on such "light" topics as global climate change, terrorism, the history of colonialism, global outsourcing, pervasive war, inescapable poverty, failing educational systems, and failed relationships, the show encourages viewers to get serious about considering our future. The lineup of artists in the exhibition (including Cory Arcangel, Jim Campbell, Paul DeMarinis, Kota Ezawa, Amy Franceschini, Graham Harwood, Lynn Hershman Leeson, Shih Chieh Huang, Jennifer and Kevin McCoy, Eddo Stern, Marina Zurkow, and others) could very easily be assembled with no greater purpose than surveying the most significant new media art of this moment. Instead, Dietz pushes viewers (and perhaps the artists themselves) to think further ahead. His curatorial statement fleshes out the fundamental "collision" encapsulated by the notion of "innovation": A face-off between the present and the future, in which one makes proactive decisions about the changes they want to see and the tomorrow they want to craft. Those working in new media are arguably extremely well-positioned to make such articulations, as they are at home on this temporal precipice. Recognizing this scenario charges both artists and audiences with a new sense of responsibility. As Dietz says, "In this contemporary context, 'what's next?' the age-old question at the intersection of art and technology takes on a new urgency." The works he's selected for their address of the aforementioned weighty topics often use light as a medium, if not the real or conceptual sheen of the popular vernacular to hold a mirror to our times. It is up to us to gaze at these reflections. - Marisa Olson
Bruce Charlesworth, Love Disorder, 2008
Reblog
Open Source Embroidery: Craft and Code at HTTP Gallery
An exhibition facilitated by Ele Carpenter
Preview Friday 16th May 6-9pm
17th May - 15th June 2008
Open Fridays to Sunday 12-5pm
http://www.http.uk.net
This exhibition explores the connections between the collaborative characteristics of needlework, craft and Open Source software. This project has brought together embroiderers, patch-workers, knitters, artists and computer programmers, to share their practice and make new work.
The centre-piece of the exhibition at HTTP Gallery is the HTML Patchwork developed in response to the popularity of quilting in Sheffield, the result of a participatory project initiated by Ele Carpenter in partnership with Access Space. The patchwork is built on open principles of collective production and skill-share where each person contributes a part to the whole. The final work is a collectively stitched patchwork quilt of HTML web-safe colours with embroidered codes, and a wiki website, where the makers of each patch identify themselves and write about their sewing process. Each patch is personalised by the sewer, often including embroidered web addresses.
In an interview with Jess Lacetti, Ele Carpenter said about the project: "The same arguments about Open Source vs Free Software can be applied to embroidery. The needlework crafts also have to negotiate the principles of 'freedom' to create, modify and distribute, within the cultural and economic constraints of capitalism. The Open Source Embroidery project simply attempts to provide a social and practical way of discussing the issues and trying out the practice. Free Software, Open Source, amateur and professional embroiderers and programmers are welcome to contribute to the project."
[CONTINUED]
Type → announcement
Genre → collaborative, show
Keywords → open source
The Medium and Its Shadow: Reflecting on Recoded
The Centre for Modern Thought at the University of Aberdeen hosted the conference, "Recoded: Landscapes and Politics of New Media" from 24th to the 26th of April 2008. Over three days, mediumistic questions and fantasies ran through the discussion, over the days and around them, talk of interfaces, transmitters, points between, avatars, nodes and graphs, spirits and phantoms and their interlocutors. From the first paper to the last was a meta-conversation: What do we mean by medium, media, new and old? This meta-inflection, as strange as taping yourself listening, became pervasive; even the hotel had a ghost.
Friedrich Kittler (Photo Credit: Finn Brunton)
In his opening remarks, Friedrich Kittler raised the subject at the outset: we have only begun to think media, to consider the history of thinking it, here at the end of European metaphysics. He's speaking after Heidegger, the philosopher whose intensity of attention brought asphalt and reading glasses back into the discussion, the printing and the radio, the media which sustain philosophy and ontology themselves. For Kittler, Heidegger's attention opens the discussion again, after Aristotle, giving us a chance to redefine "media" and how we analyze it. His high-speed transit from Aristotle's discussion of sensory impressions to Heidegger in 1963 describes a history of applying heritage concepts of form and matter that make it easy for the European tradition to attend to the thought and forget the medium of the thought. At the end of European ontology, the logics of philosophy have been taken from "the Professor's chair" and instantiated in circuits, and this "end of philosophy is the task of thought." Kittler suggests new forms of analysis: "Technical media are the face of the moon whose dark side"--"that is Pink Floyd," he murmurs--"is technical mathematics and physics. To destroy the distinction of form and matter, we need to know how to read the technical architectures, the blueprints and the motherboards. We can look back to the whole recursive history of media theory, we could learn to spell out this new trinity of commands, addresses, and data, a new ontology of data." He expands this following a question from Mario Biagioli: To begin thinking from the basis of media, that is, processing, storing, and transmitting as the fundamental categories, rather than our inherited metaphysical arrangement.
Pause on that note, on processing, storing, transmitting, to trace another thread that starts with Kittler's talk: a theme of philosophical geometry. He presents a wonderful notion, a topological theory of stuff--Heidegger's "Thing Itself" essay, as Kittler reads it, has a mathematical theory of objects and their use. Heidegger discusses the importance for us of the fact that the amphora is a hole, something to fill with liquid for humans or the gods. Kittler laughs: "A geometry, the hole in a shoe or a glass, or a coffee cup, with a hole and a hole for a handle!" Later, Sha-Xin Wei will draw intersecting cones in describing Whitehead, and Ken Goldberg will consider the Reauleaux tetrahedron as a way of thinking about gathering places, the Heideggerian fourfold, in the drawing together of four spheres as the vertices of the tetrahedron.
Into the Unknown
Alongside the Whitney and Venice biennials and certain other surveys of contemporary art, the Carnegie International has not always received its adequate share of attention. Which perhaps accounts, in part, for curator Douglas Fogle's controversial decision to name this year's edition -- the first time in the International's 112-year history. "Life on Mars," lifted from the eponymous David Bowie song, provides a thematic foundation for Fogle's group of forty artists from seventeen countries, all of whom "emphasize the modest over the monumental, and the hand-made over the machine-made" to convey "the poetic wonder in the everyday world." The question about the possibility of life on Mars thus operates as a metaphor for a state of alienation characteristic of contemporary existence, which many of the International's artists endeavor to highlight and explore. This question is ultimately a constructive one, Fogle contends, suggesting that the hopes, fantasies, and other signs we project into the unknown could yield responses - that connections can be made. While the practices of many of the artists in the show, including those of Phil Collins, Cao Fei and Apichatpong Weerasethakul, examine the various ties binding communities, it is the International's website that potentially offers the most interesting place to address the exhibition's topic. Beyond establishing pages on MySpace, Facebook, YouTube and Flickr, the International has introduced a section to its homepage, "Signals," devoted entirely to the reflections and ruminations of online visitors. The majority of the posts, to date, were written by people associated with the exhibition, but as the International runs through January 2009, the forum aspires to attract a broader contributor base. If "Life on Mars" truly considers our relationship to unknowns - both great and everyday - then what better venue for inquiry and discussion than the virtual cosmos? - Tyler Coburn
Apichatpong Weerasethakul, Unknown Forces, 2007
All About the Benjamin
Aaron Koblin and Takashi Kawashima made a hundred dollars the hard way: with a staff of 10,000 people distributed across the globe. Or maybe the easy way, depending on how you look at it. In 2007, they posted a mysterious assignment on Amazon's Mechanical Turk--a crowdsourcing business site that lets companies offer piecemeal jobs for tiny bits of cash--asking potential employees to reproduce a greenish abstraction using a customized drawing tool; each sketcher received one cent in return for their work. Unknown to this invisible workforce, each image was 1/10,000 of a picture of a $100 bill; upon completion, the whole emerged from a mosaic of its hand-drawn parts. Continuing the numerical theme, life-sized digital prints of the work are now available at their site Ten Thousand Cents for $100 a pop, with proceeds going to One Laptop per Child (a charity originally based on the goal of the "$100 Laptop"). This isn't Koblin's first foray into collaborative artmaking with Mechanical Turk: in 2006, he similarly produced The Sheep Market, a collection of 10,000 individual black-and-white drawings, each one commissioned for two cents a piece with the simple instruction to "draw a sheep facing left." Maybe that request was prescient, given that Ten Thousand Cents made unwitting activists out of an anonymous flock of online workers. - Ed Halter
Aaron Koblin and Takashi Kawashima, Ten Thousand Cents, 2008
Reblog
Interview with Fernando Orellana
[CONTINUED]
Rhizome News: Time to Party!
Blank Spots on a Map: State Secrecy and the Limits of the Visible
For the next New Silent Series program at the New Museum, Blank Spots on a Map: State Secrecy and the Limits of the Visible, geographer and artist Trevor Paglen will explore the network of hidden budgets, state secrets, covert military bases, and disappeared people that military and intelligence insiders call the "black world." Over the course of his talk, Paglen will lead the discussion from "non-existent" Air Force and CIA installations in the Nevada desert to secret prisons in Afghanistan and to a collection of even more obscure "black sites" startlingly close to home. Using hundreds of images he has produced and collected over the course of his work, Paglen shows how the black world's internal contradictions give rise to a peculiar visual, aesthetic, and epistemological grammar with which to think about the contemporary moment.
BUY TICKETS
Friday May 9th, 7:30 PM
the New Museum, New York, NY
$8 general public, $6 Members (Rhizome and New Museum)
Call Me!
Touting the theme of "Impakt yourspace," the latest edition of Utrecht's Impakt Festival takes on the impact of Web 2.0 through its typically tightly-organized set of panels and curated programs of film, video, new media and performance. The central event, "Hybrid Playground," presents variations by Dutch artists on the melding of social networks and physical spaces. Here, attendees will experience KKEP's ParaPlay project, a democratic iTunes happening, and Bliin, which enables mobile phone users to post media to shared geographic maps; NetNiet.org's Gifted, a real-time phone-enabled social judgment system; and Alchemyst's open-source Roomware, which detects phone users and links their identity to networked personal profiles. Other internet-aware events include tech-inflected animations by painter Federico Solmi and "Self-Confession vs. Exploitation" a program of film and video diaries ranging from Joyce Wieland's 8mm work of the 1960s to modern-day web-based autobiographies. In perhaps the most self-referential move of all, Impakt will convene a panel on "The Future of Festivals" with organizers from Migrating Forms, Submarineand tank.tv, exploring what the role of live media events should be in the light of our increasingly online social world. - Ed Halter
Image Credit: NetNiet.org, Gifted, 2008
From Krakow With Luv
Williamsburg, Brooklyn-based gallery Vertexlist is named after the string of numbers that codify a digital image and, as one might then expect, is a haven for electronic art in New York. From May 9th-June 8th, the space will be an outpost for ten emerging media artists from Krakow who are featured in the exhibition, "Blankly, Perfect Summer." While there is no more heavy-handed organizational logic than shared residence, the show promises not only a professional boost for these Polish artists, but also an opportunity for Americans to take a first glimpse at some compelling work. Karolina Kowalska's JPG/TXT (2007) features the long-term archiving and live projection of snippets of text and images pulled from art, music, and media theory blogs, but no longer visible to Google. The projected juxtapositions instigate an interpretive competition between these ephemeral words and images, and are meant to examine "the special conditions of perception and representation of art works and art-related concepts on the web." Wojtek Doroszuk's film, The Dissection Theatre (2006), is an intense documentary of the autopsy process that explores the culpability of the camera for its own act of dissection, while linking the splayed body to the history of representational art. Lidia Krawczyk and Wojtek Kubiak present their video, Kaleidoscope (2008), which is part of their larger Genderqueer cycle. The piece throws a series of photographic portraits into kaleidoscopic relief, prying ornamental accessories and marked physical traits (facial hair, painted lips) from the whole and places these gendered signifiers into constellation in a way that playfully shakes up conversations about the "social fabrication [of] heterosexual norms." In their respective projects, both Jacek Malinowski and Grzegorz Szwiertnia also focus on the body, and specifically upon precarious narratives revolving around protagonists with physical disabilities. Also included in this interesting summer show are Bartosz Kokosinski, Norman Leto, Agnieszka Polska, Janek Simon, Julian Tomaszuk, and Alicja Zebrowska. For those unable to visit Brooklyn, Vertexlist has compiled an online catalogue on their blog. - Marisa Olson
Lidia Krawczyk and Wojtek Kubiak, Kaleidoscope, 2008
Reblog
SONIC RESIDUES
The Consortium for Digital Arts, Culture and Technology (cDACT) at Stony Brook University (www.stonybrook.edu/cDACT) presents the Sonic Residues Festival (www.sonicresidues.net), April 29th to May 12th, 2008, Stony Brook University.
The Sonic Residues Festival will develop subtle and complex spaces of auditory experience, organized loosely around the theme of the remainders left by vibrations in time and space. It is concerned with sound as a medium of artistic expression encompassing performance, sculpture, phonography, experimental notation, and installation. Our festival will synergistically combine a concert performance, a gallery exhibit, a series of portable media works, and provocative lectures as mediums of access to "sonic residues."
The Sonic Residues Exhibition will take place in the Student Activities Center Art Gallery at Stony Brook University from April 29th to May 12th, 2008. The exhibition includes works by Mike Dory, Luke DuBois, Grady Gerbracht, Takafumi Ide, Stephen Lee, Annea Lockwood, Martine Loyato, Nobuho Nagasawa, Timothy Nohe, Jxel Rajchenberg, and others. There will also be a segment of European sound and video pieces curated by Valerie Vivancos. In addition, projects for personal media players will be available for download at the www.sonicresidues.net website.
[CONTINUED]
Type → announcement
Genre → show, event
Keywords → audio
Reblog
Call for Proposals: Conflux Festival 2008
Conflux is the annual art and technology festival for the creative exploration of urban public space. http://confluxfestival.org
Save the dates: the 2008 festival takes place September 11 - 14 throughout New York City.
To submit a proposal to participate in the festival: http://confluxfestival.org/conflux2008/submissions/
The deadline for submissions is May 31, 2008.
All the World's a Datastream
The Rencontres Internationales is an international festival now enjoying its 15th edition, in Madrid. But you don't have to fly to Spain to surf through its compelling exhibition, "Data Meanings." (Installed at Complejo El Aguila through May 14th.) While the RI's programs do boast a roster of over 150 respected artists and arts professionals, the festival is distinct in that it is less driven by the art market and more driven to critique practices (creative and professional) within the contemporary arts community. In particular, this year's events are designed to explore the relationship between "new cinema and contemporary art" and, unsurprisingly, new media is at the center of the debate. "Data Meanings" thus chimes in as an intellectually rigorous show presenting nine artists engaging with data sets of various sorts. Mindaugas Gapsevicius's Bookshelf (2006) places computer monitors on shelves as their screens flash text that visualizes network traffic. Shown adjacent to shelves containing real books, the installation questions the status of reading, the narrativity of protocol and data streams, the relative invisibility of data, the permanence of print versus the impermanence of digital archives, and the role of the human memory in retaining this information. Christophe Bruno describes his Dadameter (2002-2008) as "a satire about the recent transmutation of language into a global market ruled by Google et al." He's essentially created an elaborate system for analyzing text surveyed by Google and mapping its linguistic similarities to Dada forms; particularly the writings of Raymond Roussel. Dada geeks will appreciate the irony of conflating these rule-based systems. On an even more playful note, JODI's Composite Club (2007) exploits the point of view of "cameras" in Playstation games by triggering them with prerecorded videoclips while Ubermorgan's The Sound of Ebay (a 2008 Rhizome Commission) uses a supercollider-application to generate music and lyrics based on the public data contained in the profiles of the e-commerce site's buyers and sellers. The latter project displays the ubiquity of data (after all, what isn't information?) and of its attendant surveillance mechanisms, while highlighting the role artists play in commenting on this state of the world. Also included in the exhibition are Claude Closky, Ricardo Iglesia + Mario Ruiz, Joan Leandre, Michael Takeo Magruder, and RYBN. - Marisa Olson
Mindaugas Gapsevicius, Bookshelf, 2006
Reblog
HACK.Fem.EAST
Boryana Rossa (Bulgaria, b. 1972)Celebrating the Next Twinkling
HACK.Fem.EAST. Women and technology in networks
Exhibition, workshops, conference. A project curated by Tatiana Bazzichelli and Gaia Novati.
9 May - 22 June 2008, Kunstraum Kreuzberg/Bethanien Berlin Sponsored by the Hauptstadtkulturfonds, with support from the Institut fuer Auslandsbeziehungen (ifa).
hackfemeast.org
Gaby Bila-Gunther (RO/DE), Helena Bozic (SI), Andreea Carnu (RO), Anetta Mona Chisa (RO/CZ), Alla Georgieva (UA/BG), Marina Griznic (SI), Ana Hoffner (RS/DE), Janez Jansa (SI), Kitch (SI), Katja Kobolt (SI), Anna Krenz (PL/DE), Dunja Kukovec (SI), Erika Katalina Pasztor (HU), Nada Prlja (BA/UK), Lala Rascic (HR), Joanne Richardson (RO/DE), Boryana Rossa (BG), Selena Savic (RS/NL), Zvonka Simcic (SI), Tina Smrekar (SI), Son:DA (SI), Starke (BA), Lucia Tkacova (SK), Mare Tralla (EE/UK)
Reblog
new Neural mag #29, Digital China
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
[Neural n. 29 contents]
. . . . . . . . . . . . . . . . . . . . . . . . .
new.media.art
. Yao Bin (interview),
. 8gg (interview),
. We Make Money Not Art/We Need Money Not Art interviews,
. The Paradox of Chinese Art in the Age of Technology
. Continental Drift.
. v2_zone MOCA Taipei.
. 11th Microwave Hong Kong.
. news (WINDscale, Privileges, Feed, Spinal Rhythms, Life)
. reviews (Home-Made, Conexoes Tecnologicas, Two Films,
Database Aesthetics, MediaArtHistories, Intimate Transactions)
. centerfold: 'Constellation' by Chu Yun
. . . . . . . . . . . . . . . . . . . . . . . . .
e.music
. FM3 (interview),
. Zen Lu (interview),
. news: (Torcito Project, Sonic Wargame, Akousmaflore, Plink Jet, Isaidif)
. reviews: (Cultura VJ, Continuity, Messy, Living Sterea & Cinema.tik, Tricycle)
. reviews cd: (Frank Rothkamm, Minoru Sato + Asuna, Tim Blechmann, Oh Astro, Dorninger, Al Margolis, Shinkei, Gavin Bryars, Jorge Haro, John Luther Adams, Uusitalo, Snog, martyn Bates & Max Eastley, Savvas Ysatis + Taylor Deupree, Roam The Hello Clouds, Periferico, Zaum, David Watson, Einstuerzende Neubauten)
. . . . . . . . . . . . . . . . . . . . . . . . .
hacktivism
. Made in China, dagongmei and the global it factory,
. The Great Firewall of China,
. Post Revolutionary Glimpses,
. news (new American Dictionary Security/Fear edition, Constrain City, Breaking the News, Transborder Tool)
. reviews: (Peers, Pirates and Persuasion, Infotopia, Netporn, Depford.tv Diaries, Wired Shut, Panel de Control)
[CONTINUED]
Type → announcement
Genre → net
Keywords → digital
Rhizome News: Walking the Neon Line
Image Cred: Jill Magid, I Can Burn Your Face, 2008
Reblog
Color Field Websites
purple by Jeff Abrahamson
The White Website by Hans Bernhard
The Black Website by Hans Bernhard
What You See Is Not What You Get by Marc Kremers
From Black to Blue and Back Again by Damon Zucconi
international #5EEC07 green by Chris Coy
Sometimes Red, Sometimes Blue by Damon Zucconi
Let’s Turn This Fucking Website Yellow by Charles Broskoski
ColorFlip.com by Rafael Rozendaal
International Klein Blue by anonymous
Makers of the World, Unite!
Proof against the claim of declining handyman skills in younger generations of Americans, this weekend's Maker Faire will turn over the Bay Area's San Mateo Fairgrounds to the unusual inventions of the country's amateur artisans, do-it-yourself tinkerers and precocious tech-heads. Already in its third year (the first, held in San Mateo in 2006, drew 20,000 people, and the 2007 Austin edition 45,000), the fair has shown a continuing desire on the part of the populous to not only concoct innovative, low-fi alternatives to mass-produced commodities, but to also make the skills acquired through such production available to the broader community. To this end, MAKE and CRAFT magazines, published by the fair's organizers, offer in-depth instructions for building everything from the practical (an in-car camcorder mount) to the far-fetched (a PVC air cannon). The fair itself will follow suit, particularly in the realm of engineering. Highlights include an amateur radio demonstration, offering details on radios, antennas, local repeaters and FCC practicalities; the cerviScope, a portable colposcope, specifically designed for low-resource settings in the developing world, that detects HPV lesions on the cervix towards preventing cancer in women; CUBIT, created by Stefan Hechenberger and Addie Wagenknecht, which "depart[s] from the mouse pointer paradigm" by employing an open-source, multi-touch platform for computing; and Compubeaver, a taxidermy beaver retrofit as a cover for your desktop computer. - Tyler Coburn
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LMAKprojects (Chelsea): Andy Graydon, Untitled (Ground)
LMAKprojects (Chelsea)
526 West 26th Street, 3rd FloorChelsea
May 1 - June 7, 2008
Web Site
Andy Graydon
Untitled (Ground) is a series of new works incorporating photography, sound, and installation that continues Graydon's exploration of media in relation to the phenomenal, architectural, and social constructions that make up our composite notion of place. The latest in his series of "science-fiction ecologies", this work originates in the artist's birthplace on the islands of Hawaii. The islands constitute the "ground" of the show's title, with sound and image recordings forming a kind of informal field study of a place that is at once exotic and yet intimately familiar to the artist, where personal memories, associations and resonances are embedded in each location.
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Rhizome News: Ballsy Moves
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Back to Wordart (2008) by Mikeyawesome aka Mike Ruiz
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Weekend of Speakers - call for proposals
via the Pd-list comes an opportunity to play with 36 loudspeakers:
Weekend of Speakers Call
13th June to 15 June
Call for fixed media, performance and improvisation work to be diffused across 36 discrete loud speakers and explore the particular physicality of the location (St Paul's Hall).
Works are required for a variety of performance, improvisation and installations settings: floorplan and speaker placement maps are on the website (see below). While traditional tapes works are welcome, laptop performance, live diffusion, installation and instrumental works with electronics in particular are sought.
For more see online @ www.inclusiveimprov.co.uk/wofs
Were? St Paul’s Hall, University of Huddersfield, UK
When? June 13th -> June 15th
Cost? All Events Free -in fact this is all being done on favors
To submit work for consideration please email calls(AT)inclusiveimprov.co.uk by May 19th with appropriate links. And if you have a really crazy idea for this opportunity email us with your thoughts.
Mobile Media
Net art and mail art have often been compared. Afterall, no matter how static a website may look, getting there, and seeing what you're meant to see is a process that relies on a series of messages being transmitted and received. For an artist like Lisi Raskin, mail (the "snail" or electronic variety) would be a ripe topic. The Brooklyn-based artist often creates installations and scenarios predicated on paranoia in relation to the government, so what better a topic than federally-controlled communication? (Don't forget that the U.S. government invented email for internal communication.) Officially, her practice is described as "a sublimation of childhood fears of and adult desires for nuclear apocalypse into a slightly twisted and highly physical recreation involving makeshift production and playfully dark fantasy." While Raskin's interest in fear is situated as "post cold war" it is rather timely in the era of orange alerts, and the question raised is of the degree to which the government produces and trades on fear. She's further interested in the history and fantasies associated with land use discourses, so for her residency at Bard College's Center for Curatorial Studies, the artist seeks to explore the impact of military facilities on the landscape of the American West. From April 15th-August 31st, Raskin's rolling in a super tricked-out van to tour the sites of nuclear tests and facilities, and responding site-specifically by making sculptures and drawings, sending transmissions, and mailing dispatches back to the gallery at Bard, where grad students are working in her "post office" to receive and display the mail. Entitled Mobile Observation (Transmitting and Receiving) Station, the project's game plan is an interesting inversion of the traditional model of the residency, and in some ways mirrors the partially-decentralized distribution of information enabled by networks like the internet. The space between the messages and even potential systemic barriers to their receipt raises interesting questions about the process by which these electronic and paper-based "transmissions" will be encoded, broadcast, and decrypted. Given Raskin's interests, one wonders if there will be any wiretapping involved--but perhaps even that fear's just another media spectacle in the theater of terror. - Marisa Olson
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VOTEMOS.US Weekly Video Podcast Now Available
VOTEMOS.US- the site that questions what the 2008 U.S. presidential elections would look like if all residents in the U.S. could vote- will now feature weekly video interviews with U.S. immigrants and Mexico City residents concerning the presidential elections and general relations between the United States and Latin America.
Although VOTEMOS.US is a Spanish-language site, the videos have English language subtitles so that U.S. citizens may have an insight into the views of their Spanish speaking neighbors within the country as well as those south of the border. The weekly video interviews are available on the site, as a podcast or rss feed:
Artist Ricardo Miranda Zúñiga just added video interviews to the site for his project VOTEMOS.US ¡Mexico Decide!
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GRL: The Complete First Season Screening at MoMA 5/4 and Trailer
Watch the Complete 1st Season Trailer here.
GRL: The Complete First Season screens this Sunday, May 4th @ 8PM at the MoMA. After the flick, talk with artists featured in the film, including Mark Jenkins, Leon Reid, Steve Lambert, the GRL and special guests + party to the music of Javelin. BYOPS! (Bring your own purple stuff).
Get your tickets here!
Graffiti Research Lab premiere their film this weekend at MoMA! Click the above for a trailer.
Like an Art Party Where Everyone's Invited
For all that's been said about how behind-the-times academia can be, university galleries are very often the most risk-taking portholes to contemporary art. This fact is exemplified by Arizona State University's Art Museum where curator John Spiak has demonstrated a keen eye and clear commitment to emerging artists and emergent media. The museum's new Social Studies series turns the gallery over to a visiting artist to use it as their lab and concoct an exhibition composed largely of art work in the form of social interaction. The program's second resident, San Francisco Bay Area artist Josh Greene, is already well-known for such work. He's turned a surprise party for his sister into a public event, organized luncheons for gallery workers, and even managed to seduce Sophie Calle into lending him her bed to lie in as a means of sleeping-off a breakup. Greene is the founder of the Bay Area Leisure Foundation, which hands out giant $500 checks to winning applicants who submit "leisure proposals" which are judged by "leisure experts." Among his best-known projects is Service Works, a monthly grant program in which the artist donates his waitstaff tips (an unpredictable number, thus merging situationism and the legacy of "chance operations," depending on how you look at it) to another artist, based again on the merit of their project proposals. The winners have all embraced fun while, in a roundabout way, using wealthy diners' money to do something positive for the world. For his ASU residency, the artist completed a series of tasks under the banner of the disclaimer "Some Parts Might Be Greater Than the Whole." These include chatting with a chimp about art ideas, installing a show of the museum preparators' artwork, acting in other artists' videos, a "public restroom intervention" entitled, "Inequity No More," and perhaps most ambitiously, moving Spiak's entire office, post-it note by post-it-note from behind the walls that usually keep arts administrators' actions private into the public space of the gallery. At long last, Greene's work is evidence that art work about the art world doesn't have to be alienating. - Marisa Olson
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Will Not Cry in Public
A media art exhibition
By Olan Netrangsi, Pathompon Tesprateep, and Sathit Sattarasart
April 17-May 17, 2008
at 7th Floor, Main Library,
Chulalongkorn University
Yield is a group of young artists from Bangkok, consisting of Olan Netrangsi, Pathompon Tesprateep, and Sathit Sattarasart. They all graduated from Chulalongkorn Universit