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Treating Youtube as an archive, a series of video and photo-based works that appropriate amateur images posted online, reconstructing how image posting and “response”—and the online communities dedicated to their propagation— performs the mass-identified narrative of individualism that capitalism proposes. The "My Way" videos cathect issues of gender-specificity, sexual orientation, race, globalization and marketing within the larger codings of belonging and isolation, sameness and difference this vast aggregation of online video documents evokes.

-- FROM THE ARTIST'S STATEMENT

On view through April 4 at PS1 as part of "The Talent Show"

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Throughout the 1990s, digital computing and network technologies were largely employed in office work, their cultural implications confined to niche realms for enthusiasts. If that decade’s new media art formed a vital artistic subculture, it was mainly isolated and self-referential, in part due to the artists’ fascination with hacking the medium, in part due to its position as the last in a long line of Greenbergian interrogations of the medium, and in part due to its marginalization by established art institutions. Artists like Vuk Cosic, Jodi, Alexei Shulgin, and Heath Bunting replayed early twentieth century avant-garde strategies while emulating the graphic and programming demos of 1980s hacker culture, before computers left the realm of user groups and became broadly useful in society.[1]

Today, in contrast, digital technology is an unmistakable presence in everyday life and is increasingly inextricable from mainstream social needs and conventions. Network culture is a broad sociocultural shift much like postmodernity, not limited to technological developments or to “new media.”[2] Precisely because maturing digital and networking technologies are inseparable from contemporary culture — even more than the spectacle of the television was from postmodernity — they must be read within a larger context. All art, today, is to one extent or another, networked art.

This investigation can’t be limited to online venues, but it also can’t be limited to “art.” Postmodernism called high and low into question (think of Warhol as the quintessential early postmodern artist, or later Barbara Kruger, Cindy Sherman, Jeff Koons, and Richard Prince) by bringing in products of the culture industry into art, but network culture levels that distinction utterly. Art under network culture dismisses the populist projection of the audience’s desires into art for the incorporation of the audience’s desires into art and the blurring of boundaries ...

Every day an incomprehensible number of new digital media files are uploaded to hosting sites across the internet. Far too many for any one person to consume. Infinite Glitch is a stream-of-conciousness representation of this overwhelming flood of media, its fractured and degraded sounds and images reflecting how little we as an audience are able to retain from this daily barrage.

Infinite Glitch is an automated system that generates an ever-changing audio/video stream from the constantly increasing mass of media files freely available on the web. Source audio and video files are ripped from a variety of popular media hosting sites, torn apart, and recombined using collage and glitch techniques to create an organic, chaotic flood of sensory input.

-- FROM THE ARTIST'S STATEMENT

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The Time Machine in alphabetical order is a complete rendition of the 1960's film version of HG Wells Novella re-edited by us into alphabetical order from beginning to end. In doing so, we attempt to perform a kind of time travel on the movie's original time line through the use of a system of classification.

We consider this experiment as using what we have decided to call 'a constrained editing technique' in light of the literary artistic movement Oulipo who would make works through the use of constrained writing techniques.

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All those present at Cincinnati-based project space CS13 on Saturday, December 11th, participated in redubbing an excerpt of Jurassic Park. This included foley effects, an improvisational score, as well as dialogue. This is the result.

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Shana Moulton and Nick Hallett's epic multimedia one-act opera Whispering Pines 10 will run at the New Museum on Saturday and Sunday, January 8 and 9, 2011. If you missed the performance of this piece at the Kitchen last Spring, now is your second chance to see the show! Read more about Whispering Pines 10 below, and be sure to pick up your tickets early through the New Museum site.

Note: We ran a short essay in Rhizome News by Brian Droitcour on Moulton's series Whispering Pines when the opera debuted, check it out.

Whispering Pines 10 is a one-act opera by artist Shana Moulton in collaboration with composer Nick Hallett, and featuring vocalist Daisy Press. It features a live performance by Moulton as her alter ego Cynthia, a hypochondriac agoraphobe prone to colorful hallucinations and absurd fantasies. While Cynthia seeks health and total happiness within her virtual environment—an interactive video set that utilizes real-time multimedia techniques its creators call “live animation”—she usually settles for fad cures and new-age kitsch, creating situations in turn comic, contemplative, and surreal.

Whispering Pines is the celebrated video serial created by Moulton in 2002 that has previously spawned nine episodes, along with related performances, videos, and gallery installations. Whispering Pines 10—the latest installment—is an innovative performance hybrid that incorporates elements of traditional opera into contemporary video and performance art. Its premise—a woman alone in her private environment, aided by technology—enables a flexible sensibility wherein popular and experimental forms can mingle. The original music and libretto composed by Hallett takes advantage of the narrative’s dream logic to weave what is essentially a pop music vocabulary into an experimental idiom, enabling a virtuosic exploration of the human voice. As the protagonist does not effectively speak, the sounds ...

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