Paintings for Satellites (2009-2010) - Molly Dilworth

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In the last year my practice has grown out of the studio in the form of large-scale rooftop paintings for Google Earth. This project uses materials from the waste stream (discarded house paint) to mark a physical presence in digital space.

My work is generally concerned with human perception of current conditions; the Paintings for Satellites are specifically concerned with the effects of the digital on our physical bodies.

All my work begins a series of rules derived from existing conditions. For example, the color palette for the rooftop paintings is made from the discarded paint available on a given day; the physical surface of the roof determines the shape of the painting.

As this project proliferates, it will take two forms - a community model, using local volunteers and paint from the waste stream and a design/build model, using solar-reflective paint, solar panels and green roofing contractors.

-- FROM THE ARTIST'S DESCRIPTION

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Required Reading: Ever-Changing Chains of Work: An Interview with Constant Dullaart by Franz Thalmair

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For Constant Dullaart the Internet serves as a medium as well as a subject of artistic production. His main strategy is the exploration of the multifaceted languages of contemporary images circulating on the Internet and their re-contextualisation as found material in a medium of its own. With his artworks, the Amsterdam- and Berlin-based artist digs deeply into the caches of a networked cultural production without limiting the medium to simple technological traits: the default style of Web-based platforms, their widespread and often unscrutinised use as well as the popularity of globally standardised interfaces are manipulated with the aim of investigating their social potential.

Dullaart’s practice ranges from art made with and for self-explanatory domain names such as The Revolving Internet.com or The Sleeping Internet.com and video works such as YouTube as a Subject as well as the adoption of this series of short loops for the real space under the title YouTube as a Sculpture. Furthermore, he deals with site-specific installations such as Multi-Channel Video Installation, where projector mounts where borrowed from art institutions and taken to an exhibition space to serve as sculptural elements, as well as dealing with digitally manipulated images as in the series No Sunshine, where he applies the Photoshop default techniques to remove the sun from romantic sunset pictures found on Flickr. Brian Droitcour writes for Art in America magazine: “Dullaart’s ready-mades demonstrate his interest in what might be called ‘default’ style—the bland tables of sans serif text and soulless stock photography that frame ads for some of the most common search terms (auto insurance, cheap airline tickets, pornography), baring the underbelly of the Internet’s popular use.” . . . and the circle is turning and turning and turning—with no end in sight.

-- Excerpt from "Ever-Changing Chains of Work: An Interview ...


Paris Street View No. 28 (2009) - Michael Wolf

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From the series Paris Street View.

Originally via we make money not art

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Google Variations (2010) - Leonardo Solaas

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"Paint It Google"

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"Beautiful Signs"


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"The Nongoogles"

Google Variations is a 2010 commission by Turbulence.

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The Most Boring Places in the World (2009) - Angie Waller

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“The Most Boring Places in the World” is a Google Earth tour that pinpoints the location of bloggers, live journal-ers, and chat room commentators. These authors all claim that the city they live in or vacationed in is more boring than any other place they can imagine, at least during the time of their post. Most locations do not repeat (with the exception of North Carolina, Ohio, Zurich and Singapore). What these destinations share in common is their ability to inspire existential crises, home-from-college woes, and the suffering specific to beautiful scenery, suburban sprawl and shopping malls.

-- FROM THE ARTIST'S STATEMENT

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The Satellite Collection (2010) - Jenny Odell

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The Satellite Collection is a series of six digital prints that I made by collaging cut-out imagery from Google Satellite.

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Approximately 1,326 Grain Silos, Water Towers, and Other Cylindrical-Industrial Buildings

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125 American Swimming Pools

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195 Cargo Ships, Barges, Motorboats, Yachts, Tankers, Cruise Ships, Riverboats, Sailboats and Hospital Ships

Originally via Valentina Tanni

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You, the World and I (2010) - Jon Rafman

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When Orpheus’ beloved Eurydice dies, he cajoles his way into the underworld with his musical charms and his lyre. Wanting her but not her shade, he cannot forbear looking back to physically see her and so loses her forever. In this modern day Orphean tale, an anonymous narrator also desperately searches for a lost love. Rather than the charms of the lyre, contemporary technological tools, Google Street View and Google Earth, beckon as the pathway for our narrator to regain memories and recapture traces of his lost love. In the film, they are as captivating and enthralling as charming as any lyre in retrieving the other: at first they might seem an open retort to critics of new technology who bemoan the lack of the tangible presence of the other in our interactions on the Internet.

Our narrator remembers that once, with her back turned while facing the Adriatic Sea, a Google Street View car drove by and took a picture of his beloved, who detested being photographed, without her realizing it. Our narrator cherishes this photograph and the entire relationship becomes encapsulated in the screen capture replacing all other experiences and memories. Soon it is not enough. Our narrator cannot imagine that, in a world where everything is recorded, that someone could completely disappear. In daily systematic searches for photographs of the nameless other, Google Street View and Google Earth allow him to move seamlessly through vast detailed three-dimensional space. This extraordinary geographical and social exploration is favored by Google satellite images, user-created 3D renderings of Stonehenge and Machu Picchu and Street View panoramas of favorite vacation spots. As an undifferentiated series of cultural, historical and contemporary symbols float together or follow one another in rapid succession, in a world where Dutch anthropologists discover pre-Socratic fragments on Turkish islands ...

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Fata Morgana (2010) - Damon Zucconi

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Golden Shield Music (2009) - Marco Donnarumma

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Golden Shield Music is a generative composition for eight audio channels. [...] The work is inspired by the Golden Shield Project, sometimes referred to as the 'Great Firewall of China'. [...] Golden Shield Music collects the twelve website’s IP that are most screened by the Golden Shield. Therefore IP numbers are listed in a text file which feeds an automated MIDI polyphonic synthesizer. The latter translates each IP in a single note formed by 4 voices with a specific velocity. Resulting notes are ordered by the amount of pages the Golden Shield obscured for each IP address: the website’s IP obtaining the highest page result on Google.com becomes the first note of the score and the others follow in decreasing order. Data organizes the musical notation, establishing an abstract relationship between Internet information and musical algorithms which sounds harmonious and "handcrafted".

-- DESCRIPTION FROM THE ARTIST'S STATEMENT

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Following the Lines

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Jeremy Wood's "Mowing the Lawn" Installation View at Tenderpixel

In an era of Google Maps, our first engagements with places are often anticipated by technology. That is, our experience with a place often comes with pre-emptive associations from aerial pictures -- our possible routes predetermined and mapped; personal narratives and exploration are displaced for utility. So, what happens to our individualized explorations in time and space when GPS technology intervenes? This is the inquiry of GPS artist Jeremy Wood’s body of work and his current show “Mowing the Lawn” at Tenderpixel in London.

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Jeremy Wood, Lawn 2005 Scale 1:300, 2010

Treating his body like a “geodesic” pencil, his daily routines are documented as lines in space via GPS technology. In turn, Wood’s performative rituals are data visualized as densely packed line drawings and animations. Having spent ten years developing a system for tracking and translating his everyday movements, the resulting pieces are one part drawing, one part diary and one part critique of the technological system’s accuracy/inaccuracy and how that intervention enables/limits our perception of the spatio-temporal.

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Jeremy Wood, Nine Years of Mowing, 2010

While his work ranges from tracking large-scale transatlantic flights (Star Flights, 2008) to tracing and superimposing quotes from Melville onto two meridians in London (Meridians, 2005), in his latest show, Wood focuses on documenting the simple act of mowing the lawn in different intervals of time. Here, Wood emphasizes how banal repetition offers “individual narratives that express a freedom of movement generated from an act of garden maintenance”.

What may be more compelling, though, is how a digital trace can bring to the fore the problems of technology. Looking at Lawn 2005 Scale 1:300, we see multiple lines drawn where a house already exists. In Nine Years of Mowing ...

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